KN Magazine: Articles
The Art of Writing Fast (Part II)
In Part I of The Art of Writing Fast series, I discussed the benefits of Fast Writing (both what it is and why it’s awesome sauce!) Now, I’d like to share the “how” behind this technique…
The “How” of Fast Writing
1) You need a plan
Yes—YOU! You need one. Period. Whether you’re a pantser, planner, or plantser, one of the most effective ways to write fast is to have an outline. And before you throw a fit about outlines…ultimately, whatever process works best for you is what you should stick with. Can you speed through a 50,000+ word first draft with no outline and only an idea in your brain? Absolutely. Just because I don’t, or some people find that difficult, doesn’t mean you shouldn’t if you can. However, it does make it a lot easier to provide direction and can help avoid writer’s block if you get stuck somewhere along the way. But it’s not impossible. So yes, this method can work for everyone. However, I still suggest creating an outline. It does NOT need to comprise an elaborate blue print with character worksheets and maps and a play-by-play of every action. But it should at least include a basic 3-act structure. What happens in the beginning? How do things get harder in the middle—what’s the big setback/challenge? And how does it end? You can do this at the beginning, before writing, or you can do it during your writing. Just keep a notebook or other document open on your screen and note what happens in each chapter as you go. This way, when you get to the end, you can review it and see if the structure still makes sense. Or, if you get stuck somewhere along the way, you can review the outline and see if it still makes sense, if you should take a different turn somewhere, or if you notice a pattern or theme emerge that will help you decide what happens next. Whatever the case, a guideline of some sort will only help, not hinder, your progress as you sprint toward “The End.”
2) Figure out how long it will take
Like with any goal, this will require dedicated time, energy, and discipline. Try this exercise to see how long it might take you to complete a novel:
Set aside an hour where you know you will not be interrupted (turn off your phone/TV, etc…). Lock yourself in a room and ensure you have everything you need (water, coffee, etc.)
Prep your computer (or notebook/pen) and set yourself up however you prefer to write
Have a timer ready and set to go off at one (1) hour
Start the timer and write for an hour. You can write about anything you want, but preferably in the genre you enjoy most (or are most comfortable writing in). You can use a prompt book or prompt generator to get you started. Here are a couple of good ones:
The only rule is DO NOT STOP! If you must (such as, all that coffee you chugged before starting just hit your bladder something fierce), pause the timer and restart as soon as possible. But overall, focus on getting as many words on paper as possible
At the hour mark, check your word count. Most programs will have a word count built in, but if doing this by hand, you’ll need to physically count the words
If you’re able to do this 3 times, whether the same day or on 3 separate days, you should have a good average number for your “hourly word count average.” Doing so on 3 separate days will provide a more accurate number, mainly because, if you have one superb day with 3 hours to spare, the words you knock out might not reflect your average word count…thus, spreading out your days will give you a more accurate picture.
My average word count in one hour, without too many breaks, is about 1500-2000 words. Some days are better than others, but that’s about what I’ve been able to achieve. I’m not throwing this out there as a comparison—if you can do much more, that’s awesome! If you came up with much less—no worries! If it’s your goal to achieve a higher word count average in an hour, there’s no better time to practice than now while writing your next book. ( ;
3) Schedule your writing time
Once you’ve got an idea of how many words you can achieve in an hour (give or take), divide that by the word count goal for your book.
Example: 80,000 / 1500 (avg hrly words) = 53.3 hours.
For the sake of keeping this simple, let’s say it takes 54 hours for you to write an 80,000-word rough draft. Now all you need to do is look at your schedule and find 54 hours. Easy peasy.
Okay, so it’s not that peasy. For some people who are currently adulting (i.e., work full-time and have kids and responsibilities, like moi), 54 hours can seem overwhelming. But I guarantee you, it’s not as bad as you think. I’ll bet you can find time to squeeze it in amidst the daily grind. Do you commute to work by train or bus? You could write during that time. Maybe during lunch break? How about after the kids are tucked in? As you study your daily habits and the average day-to-day schedule, you’ll likely find places where you could substitute an activity for writing. If you binge-watch Netflix shows for 4 hours on a Saturday night, cut that to 2 hours and spend the other 2 on writing.
4) Use all the tools (or none of them)
Consider doing word count sprints. Or using a Pomodoro timer while you write. Bribe yourself with treats when you hit word count goals! Example: Once I make it to 30,000 words, I’m getting an hour-long massage. / For every 5,000 words I hit, I’m eating a chocolate chip cookie.
5) Support
Having others support you and your goals is always important. And I hope you have those people in your life. Tell your close friends, your spouse, your kids, etc., that you’re working to accomplish this goal of finishing a rough draft. Doing so will give you accountability, but also (hopefully) show those around you that you’re not ignoring them when you turn down a lunch date or night out. Rather, you’re working hard to complete a project that has a lot of meaning to you. This doesn’t mean you should isolate yourself from everyone and neglect your family (and if you’re Googling things like “At what age can children be left alone before DCS intervenes?” Then you might need to rethink some priorities…). But overall, you’ll likely turn down invites you wouldn’t normally, or be less available during the time you’re focused on speeding through a first draft. It’s good for those who care about you to know what you’re up to. After all, they may be your greatest cheerleaders along the way.
Self-care is another important focus here. It’s easy to lose sight of everything else when you’re hyper-focused on something. But don’t forget to get up, stretch, go for a walk, hit the gym, and take breaks as needed! Your body will thank you for it. If you’re writing the entire draft by hand (bless you), you’ll want to do regular wrist-stretching exercises to avoid writer’s cramp. (In fact, you may want to do these for long periods of typing too…). If you need to schedule in these breaks, then by all means, do so!
If you’ve stuck around for this long, you might be thinking “Hey! Maybe I can do this!” And yes, the answer is absolutely 100% you can. You’ve got the what, the why, and the how. Up next: WHEN and WHERE to Fast Write (in Part III of the Art of Writing Fast series).
Getting Started In Indie Pubbing (or Good God, what have I gotten myself into?)
By Steven Womack
Maybe you’ve written your first novel (or second or tenth, whatever) and you’ve taken three years to query every agent on the planet and haven’t gotten even a nibble.
Or maybe you’ve been in this business a couple of decades and published two dozen novels, all of them with modest midlist advances and now out-of-print and not making you a penny. And you’re getting older, and all those years writing novels were years you weren’t piling money into a 401(k) or a company pension, and now you’re scared as hell you’re going to be eating cat food in your dotage.
Or maybe you’ve had some success, made some pretty good money from time to time, but you feel like you’ve been thoroughly abused and taken advantage of by publishers (don’t laugh; it happens). And you’re tired of arguing with editors and having covers you hate shoved down your throat, not to mention the complete lack of marketing, promotion and support (unless you’re a best-seller, in which case you don’t need it).
So you listen to a few podcasts and read a few blogs and there all these stories of writers taking control of their careers, writing what they want, with covers they love, and succeeding beyond their wildest dreams. You’ve heard of this guy Mark Dawson, who sells a huge, sprawling extensive bunch of courses under his “Self Publishing Formula” brand. And you’ve heard about that fellow in northern Wisconsin who blogged that he made a hundred grand in three weeks selling his self-pubbed titles on Kindle.
And you hit the “Yeah, I’ll take your cookies” button on a few websites you visited and now your Inbox is flooded with emails every day offering to sell you courses on how to be a successful self-publisher or even offering to do it all for you—for a price.
It’s too much. Overload, fuses blown…
Time to take a deep breath and relax.
Like everything in life that’s overwhelming (and the older you get, the more of life that encompasses), sometimes it works to stop staring slack-jawed at the big picture and just break off a little chunk of it and see if you can handle that.
So if you’re trying to build a career as a writer, what’s the best chunk to start with?
The first step goes without saying: you’ve got to write a good book. I won’t spend much time discussing that, but remember—without a story that works, characters that are compelling, writing that leaves you wanting to turn to the next page even if it’s past your bedtime, everything else in the process is for naught.
So given that you’ve done everything you can to meet that first requirement, what next?
You also have to realized that writing, editing, marketing, book design, cover design—all the components of the process—are completely separate skill sets. Just because you’ve written a book doesn’t mean you can edit it or design a good cover for it. Indie pubbing your own work means, first of all, making a series of choices as to which skill sets you’re willing to learn and which ones your going to pay someone else to do.
So one consideration becomes: how much money do I have to put into this?
If money’s not an issue (is that even possible???), then you can write your book and pay somebody else to complete the process. There are perfectly legitimate companies out there who will do a good job for you (BookBaby being one of the more prominent), but plenty of others who are just blatant rip-offs. Do your due diligence.
Say, though, you don’t have unlimited resources and your biggest asset is the sweat equity you’re willing to put into this. Each person’s professional and life experience is different. For instance, I spent a decade working in publishing art departments, mainly as a typesetter and running an in-house art department. I’ve either actually typeset or supervised the typesetting of hundreds of books, so I’m pretty comfortable with interior book design and formatting.
Would I touch a book cover, though? Not a chance. I wouldn’t know good graphic design if it ran up behind me and bit me on the keister. A good cover designer is worth every penny you pay them, and more.
Editing? In my life, I’ve written literally millions of words. Do I trust myself to edit them? Hell, no. In the last Music City Murders novel I published, my biggest single expense was paying an editor to make sure the manuscript was in the best shape possible. I’m even glad someone’s going to be looking over this column before you see it.
That’s enough for now. I hope this has given you something to think about as you ponder your own indie pubbing journey. Next month, we’ll do a deeper dive into the steps of this process. Stay tuned…
The Writer’s Playbook: When Your Journey Collapses
By Steven Harms
On March 3, 1985, a severe winter storm of heavy, wet snow blasted Pontiac, Michigan causing the air-pressured roof of the Pontiac Silverdome, home to the Detroit Pistons and Detroit Lions, to concave.
A year prior to that I began my career in pro sports with the Pistons. When I awoke the morning of the 4th, I had an inkling our home game that night would be cancelled due to the storm. Understatement of the year. Upon nearing the stadium as I drove into work, the sight was incomprehensible. The roof had inverted to such a degree that it wasn’t visible from the exterior.
I parked and made my way into the offices, proceeding to my tiny cubicle, joining my colleagues as ticket sales representatives. The first thing we all did, including my boss and the rest of the team, was to head across the hall to the Silverdome’s press box to view the scene. That space looks out over the football field and the basketball court positioned in the southeast corner.
The decision was made immediately to postpone the game. Back to our cubicles, we jumped on our phones to call every season ticket holder to inform them of the situation. Side note – there was no internet or cell phones in 1985. A few hours later, unworldly rumbles and corresponding earthquake-like shakes rolled through our offices, taking out the power in the process. We all knew what happened.
Officially, in the southwest corner of the Silverdome, the snow depressed the fabric panels low enough so that the fabric met a steel lighting catwalk positioned just below the inner lip of the roof's ring beam. The hole caused a loss of air pressure, deflating the roof. Eventually the wet snow slid down into the bowl and ruptured more roof panels, collapsing several precast risers in the upper deck, and dislodging chunks of seating areas in the process including some from the upper level that had smashed the lower-level seats upon impact. One of the collapsed panels that fell demolished the Pistons court. For all of you college football fans, Gary Danielson was practicing at midfield with a few other Lions players when the collapse began, but they made it out of there in time. Repair operations of the roof began immediately but were interrupted for over a week due to high winds. In the end, nearly all the remaining panels in the deflated roof, one hundred in all, were either ripped off their moorings or badly damaged.
As for us Pistons staff members, our story continued. We were sent home the rest of that day for obvious safety reasons. Additionally, ten home games were left in the season (including a home game that evening) as well as the high likelihood that we would be in the NBA playoffs at the end of the month. Disaster central.
In the end, we managed through. We returned to work two days later deploying generators to power high blowing heaters so at least we could function. Our phone lines were reconnected. We had to relocate season ticket holders to wherever we were going to play. It became a master class in customer service. Within a few days our president had worked out a deal with Cobo Hall and Joe Louis Arena in downtown Detroit – home of the Detroit Red Wings – to play our remaining games.
The silver lining in all of this was the experience triggered a series of business decisions that ultimately led to the Pistons building their own arena, The Palace of Auburn Hills, a few miles up the road. The Palace opened in August of 1988, corresponding with the Pistons winning NBA Championships in the first two years. The Pistons organization went on to even greater heights, establishing Palace Sports & Entertainment, acquiring the largest amphitheater in the Detroit area, and serving as entertainment managers for a few other facilities as well as starting a popular minor league hockey team, indoor soccer, and a concert venue experience like no other at the time. What the Pistons did with the Palace was groundbreaking in many ways, earning national recognition.
But here’s the thing…
If not for the collapse of the Silverdome, none of what the Pistons morphed into would have happened. The disaster was the catalyst. It birthed a rebuilt organization that achieved heights it never imagined through vision, creativity, innovation, and strategic planning and execution.
I plucked this experience from my past to shine a light on our author journeys. The correlation between the collapse of the Silverdome and what we process as authors, in every aspect, is a study in heroic pursuit of success.
For every writer reading this, whether you are published or hoping to be, please take yourself back to that moment you decided to become an author and the first time you took your seat at your keyboard to begin the first chapter. Ahead of you are a thousand challenges. Some are obvious, some are not. Success is the goal, but along the way the pieces you put in place to reach that goal can collapse, fully or in part. Among many, there’s the story you’re writing itself followed by editing and rewriting, and then the rewrite of the rewritten story, and then another rewrite of that rewrite, the agent search and multiple rejections followed by your agent’s pitch (if you landed an agent) resulting in numerous further rejections from publishers, if at all, attaining recognition and sales if you opt for self-publishing, book marketing efforts producing no discernible results, your publisher changing their mind, the toll it may take on your home life as you climb the author mountain, and. . . fill in the blank.
Yet, as happened to the Pontiac Silverdome and its consequence on the Detroit Pistons, the hardships of heavy, wet snow that descends on your author journey can either bury you into a collapsed state or serve as a reagent for you to course correct. Rebuild, transform, innovate, vision-cast. Tap into that glorious attribute ingrained within because the ability to turn a blank piece of paper into a story isn’t at all easy.
We are authors. Bring on the storm.
The Art of Writing Fast (Part I)
The idea of writing FAST excites me, because it’s something I always wanted to do but believed there was some code I needed to crack before I could achieve results. I’m here to tell you that’s not true. There’s no code, no secret, no one-size-fits-all formula. Nope. And you get all the details here, in my new mini-series, for free.
Introduction
Writing fast isn’t for everyone, and it’s not always feasible. Note: I didn’t say it was impossible, nor am I saying some people can or can’t. What I am saying is not everyone will enjoy this method, and even for those who do, it may not work 100% of the time.
I think anyone can complete a novel, and I believe anyone can complete a novel fast, if they set their mind to it. NaNoWriMo is a fantastic challenge to start with, if you’ve never tried. And if you enjoy writing and haven’t heard of National Novel Writing Month, then I have to ask, where have you been?? Just kidding. The challenge involves writing 50,000 words in one month (particularly November, but you can pick any month to challenge yourself). The idea is to get words on paper, stop procrastinating, and finish the dang book.
Keep in mind: this does NOT mean you’ll have a polished, publication-ready manuscript by the end of your speedy writing adventures. But what you will have, is something to work with. As Jodi Picoult once said, “You can’t edit a blank page.”
Let’s dive in, shall we?
In this first article, I’ll go over what fast writing is and why to write fast
Next, I’ll tackle how to do so, as well as when and where you might do so. Later, we’ll explore the editing process and why you should approach this at a slower pace to accomplish your best work.
What is Fast Writing?
Simply put: it’s writing fast. Getting words on paper without too much thinking or hesitation. Again, NaNoWriMo is a great example because it encourages just that: writing a book of 50,000 words in 30 days, which equates to 1,667 words per day, or approximately 7 typed pages.
When you focus on speeding through the completion of a first draft (or draft zero, as I prefer to call my initial rough drafts), there’s no time to overthink or second-guess. You are forced to put your inner critic aside (or locked in a cage in a land far far away) so you can focus on simply getting the story out as quickly as possible.
Why Write Fast?
There are several benefits. Here’s 5 reasons WHY:
1. High-volume productivity
Let’s say you write adult fiction novels, and the average word count for these is about 80,000 (still unsure? Click HERE for a free, fun quiz on Reedsy to get a fair estimate). Now imagine, you dedicated time and energy to blasting through the first draft at a rate of 1,667 words per day (we’ll use NaNoWriMo rules for the sake of example). That would land you a completed first draft in 48 days, approximately a month and a half! Then there’s the editing, of course. Let’s factor in 2-3 months of applying the same amount of time you did writing to fine-tuning your draft. From start to your finishing touches, the whole process will take about 4-5 months. Now, you need a break from that book. So, you send it off to beta readers, editors, and friends with an eye for grammatical errors. And while they’re all reviewing and prepping your feedback, you’re already working on your next book! See the pattern?
This kind of rhythm won’t work for everyone. But if you plan to write prolifically, this isn’t a bad formula for knocking out at least 2 books a year.
2. Keep the Creative Juices flowing
If you prefer to take a break from an initial rough draft before editing (as I do), then you could knock out two books sequentially, and return to the first book to edit. Once editing is done, you’ll have had a sufficient break from the second book and can return to edit that one. This way you maintain a writing habit, keep the momentum going, and still give your rough drafts a “rest” period before returning to them. That or, perhaps you could turn to another creative endeavor (painting, music, ice sculpturing…take your pick!*).
*Pun absolutely intended.
3. Practice makes better
I’ve often heard people say, “practice makes perfect.” But we’re not aiming for perfect—that’s an impossible task. We’re aiming to be better each day. How do you get better at writing? By writing! Like with anything else, we can study and read about craft all day but if we don’t actually put pen to paper (or fingers to the keyboard), how else are we going to teach our brains to push past writer’s block? The more often you write, the closer you’ll get to your writer’s voice. The more often you write, and edit, and implement feedback, the more often you’ll understand the mistakes you’re making and not make them in the first place. This in turn, means churning out better and better first drafts. Tada!
4. Overcome fear of the blank page
Have you ever had this big idea for a novel, then sat down to start and stared at the blank page, wondering…where do I start? Am I even the right person to write this thing? When you fast write, you don’t give yourself the opportunity to doubt your writing ability. You just do it. Think: Nike
5. Write it fast, write it bad
Okay, I don’t really mean that. Not everything you write in a first draft is going to be bad. But a lot of it will be. There will be all sorts of room for tweaking and deleting and adding. Characters who probably didn’t need to be there, “Sally” that became “Sandy” halfway through the manuscript and you didn’t even notice, flat dialogue, lackluster scenery, flowery descriptions that have nothing to do with anything… you catch my drift. My point is simply this: give yourself permission to write it however it comes out, as bad as it might possibly present itself. Because anything is fixable, but you can’t fix something that is nothing.
Okay… do I have you convinced? You might think, this is nuts. Or I have no time. Or where did I leave the remote? Or, perhaps, you’re chomping at the bit, ready to knock out that first draft, indexes poised at the F and J keys on your QWERTY keyboard. If so, stay tuned for my five ways on HOW to do that in Part II.
Chrissy’s work has appeared in three consecutive issues of Bridgewater State University’s “Embracing Writing” book for first-year freshmen. Her writing portfolio also includes publications in The Broadkill Review, SUSIE Mag, The Storyteller, and informative pieces for a local online newspaper. One of her unpublished novels, Foul Play, was a Suspense Finalist for the 2022 Claymore Award, and an excerpt from her unpublished novel Overshadow won Top Three Finalist of the 2024 Thomas Mabry Creative Writing Award. Though her background is in counseling, having earned a master’s degree in this field, when it comes to the art of writing, she’s an autodidact. She studies books she loves and enjoys completing various creative writing classes online, and attending writer’s conferences whenever she can; Killer Nashville is one of her favorites. Additionally, she’s volunteered since 2023 as a general editor for the Killer Nashville Magazine. She resides in Tennessee with her family, their talkative Husky, and a frenetic cat. You can find her online here: https://chrissyhicks.wordpress.com/ where she occasionally blogs about the writing life and reviews craft books.
Making Your Plan
“The moment one definitely commits oneself, then providence moves too. All sorts of things occur to help one that would never otherwise have occurred. A whole stream of events issues from the decision, raising in one’s favor all manner of unforeseen incidents, meetings and material assistance which no man could have dreamed would have come his way. Whatever you can do or dream you can, begin it. Boldness has genius, power and magic in it. Begin it now.”
Sometimes attributed to Johann Wolfgang von Goethe (though it may be someone else’s)
Since success is far more likely when you have a good plan and follow it, you’ll want to work on this critical part a bit. Realize that the plan will likely change along the way, and that’s okay, as various life events and opportunities arise, especially if you have schedules, which you should. The plan needs to be recorded in some format: I use basic office software spreadsheets. Writing down things makes them real, and sets it more firmly in your mind. Charting your progress keeps you focused and motivated. Do what works for you, and make it easily accessible, because you’ll refer to this frequently, to keep following the plan.
The plan isn’t hopes or simply dreams, it’s achievable goals that are within your power. You can certainly write down your dreams, or incorporate them as part of a Vision Board, but your plan is doable steps to success. Winning awards, selling 100 thousand copies, being on Oprah, these are outside of your control. What is within your control is easy: what you’ll produce, by when, and how you’ll get it out to the world, and what other steps you’ll take. All while you’re learning more and creating your business. Work by work, win by win, you set each foundation stone to build that house of success.
Series
Series are a great way to get more books out quicker, as you don’t have to rebuild the novel world each time. They’re more likely to get you repeat readers and build your fan base. One writer I know is a smart cookie who has all the keywords and ad campaigns down, knows some of how to market, but all five of his novels are in different genres with no connection. A reader finds one of his books they enjoy, but nothing else like it by the same author, so sales are one-offs. That’s why the books don’t sell, but he doesn’t do anything about it, except gripe about how they’re not selling. So he’s discouraged and wants to give up. People buy my entire mystery series, because when they find a fictional world they like, they enjoy returning to it again and again. Remember, there are many series which survived past the demise of their creator, because people enjoy those worlds, even when written by others. One reason why fanfic is so popular.
Stories
If you can add stories and collections to your output, that gets you to success quicker. Each story publication is another showcase ad for you when it comes out, as well as a chance for more promotion (and some form of payment). They can be finished and published quicker than novels, and serve as good credit-building. They get you through the long haul between books, and keep you going, a refreshing change of pace from the long grind of a novel. If you get a story into an anthology or collection with other writers, there are good connections to make. Having a book of your stories is a good resume addition, and an inexpensive way for new readers to find you. More in the store!
Start with making a goal of writing one story a month. At that pace, you’ve got enough in a year and a half to Indie publish a couple of collections. That lets you easily get into the publishing process, and puts some product up, apart from one novel or two. It helps to get the ball rolling. Momentum is nice to have. It’s good to keep a list of ideas and titles for future works, be they novels, stories, or whatever. If I need an idea for a targeted anthology story or get stuck on what to write, I look at the ideas and titles I’ve recorded to see if anything sparks me to begin on that. I always have material to write.
For the master plan, break it down into large segments. First, what you expect to have done by a year from the start date. You can do a lot in a year, more than you think. Second, what you’ll have done three years from now. That gives you enough time to put out some quality work that will get you noticed. Then a future date, by which you’ll have done enough to be successful. Say five to seven years, by which you’ll enough good novels written and published, and a lot of stories. More than many writers.
Then detail each time segment in your plan, making milestones and goals. First year, first book. Say fifty thousand words, a short novel, only one thousand words a week. When you get to five thousand words, that’s a major milestone— your first ten percent! Hitting these milestones makes you feel like you’re really progressing, and keeps the momentum. As studies show, setting specific intentions greatly increase your chances of success.
Then the other details— how will the book be edited: critique group, beta readers, editor? Have you started on those parts yet? If not, set a period of time to research, and put that in the schedule. If you haven’t done it, it may be difficult to estimate, but it’s good to rough out some sort of time frame, even if preliminary. Remember, you can adjust the plan later as more information becomes available. Set a reasonable time for editing, especially if this is an early novel, which may require some restructuring and story work. One of the great aspects of the Indie world is that you don’t have to publish a book until it’s ready. There have been a number of occasions where I wanted a book done by a certain date, but it needed more work, so it got delayed. Don’t publish until it’s good, but don’t spend eternity on it, either. Get work out rather than let it sit for too many years unpublished.
Publishing
Apart from editing, do you know how to publish? Print, ebook, audiobook? Do you have a cover artist and know how to format? Do you know what platforms you’ll distribute on? Do you have all your marketing materials planned out? Do you know the other aspects of what comes after? If not, set periods for research. Ebooks can be published quickly, as soon as they’re ready. Print needs more formatting, and time to order a proof copy to verify it looks like it’s supposed to. Audiobooks need to be produced, and take the longest time. Adjust plans accordingly, and if you don’t know, just put a guesstimate or TBD (To Be Determined) in the time frame for now.
Definitely set the schedule for learning, and not just the publishing knowledge you’ll need. Can you absorb a new craft book on writing every 3-4 months? That gives you a few every year, and helps you improve much quicker. Plan on a course, online or in-person event every year, on some aspect of your writing that needs improvement. For that, I recommend at least one live writer conference a year, where you can learn a great deal in a few days. Budget for it, because they’re invaluable in advancing your writing career and making connections with other writers and fans.
And that’s just the start. See what I mean about how most people don’t get that far? It’s daunting to think about all you have to know, in addition to the writing. It took me about two years to learn enough of what I needed to publish my own books and break out as full Indie. Then I just took off and didn’t look back, though I’m still always learning. It does get easier as time goes by, because once you’ve acquired certain knowledge, you don’t have to relearn it.
Getting There
By following a good plan, in three years, you can be set on your success path quite readily. You’ve got some good books published, maybe some other material as well, you have your marketing material all prepared, you know how to contact libraries and bookstores, you’ve learned a lot. You’ve learned how to take feedback and have some trusted advance readers who will help. You’ve got some reviews and been interviewed a few places. After you get many of the preliminaries out of the way, plan to step up your production. Since you need less research time, put it into making your books awesome.
And the next few years after that should determine how well you’ll do. If you’re always moving forward, making plans and achieving goals, producing good work, you’ll be surprised at how much you can accomplish.
My original plan was to get a good start on success with ten good novels, ten story collections, and one hundred published stories.
And that’s just the beginning!
Dale T. Phillips has published novels, story collections, non-fiction, and over 80 short stories. Stephen King was Dale's college writing teacher, and since then, Dale has found time to appear on stage, television, radio, in an independent feature film, and compete on Jeopardy (losing in a spectacular fashion). He's a member of the Mystery Writers of America and the Sisters in Crime.
Why Book Signings Aren’t What They Used To Be
By Steven Womack
Buckle up, Buttercup: it’s story time!
Today, I’m putting on my Professor Peabody hat and inviting you to join me in The Wayback Machine, where we’ll journey back thirty years or so, to a time when being a working novelist was a whole different gig that it is now.
I started my first novel when I was eighteen, which was entirely too young for anyone to think they had anything to say about anything. Still, the combination of youth and arrogance knows no bounds, so I pressed on, determined to be the great writer I knew I was somewhere inside. Now if I could only convince the rest of the world…
Then life took over. And in one of the great ironies of my life (and the older I get, the more convinced I am that irony is one of life’s more primordial forces), after starting my first novel at the age of eighteen, it would take me precisely eighteen more years to sell one.
Even after the sale, it took a couple of years to get the book out. Then, as now, the wheels of traditional publishing grind very slowly.
So in 1990, I became a published novelist. Not only that, my first novel was a hardback published by one of the great publishing houses of New York, St. Martin’s Press. And like all newly published novelists, my first concern was when can I start doing book signings!
I loved going to book signings, loved meeting authors who’d written real books. Bookstores were my happy place and now my dream of getting to go to my happy place from the other side of the signing table was coming true. My hometown, Nashville, was a wonderful book town then. There were lots of independent bookstores around, as well as the big chains like Borders and Barnes & Noble.
One of the local independent chains was Mills Bookstores (chain? well, there were three of them), so I reached out to them, and they very kindly offered me a signing at their flagship store in Hillsboro Village. I met a fellow there—Michael Sims—who had moved to Nashville a few years earlier and would later go on to a spectacular writing career himself. He and I have been friends ever since.
Even then, publishers didn’t put a whole lot of marketing or promotion into most debut novels. So I took it upon myself to publicize and promote my first book signing. I worked up a database of a couple hundred of my closest friends and family, then merged the database with a Word document and sent out personalized letters inviting them to my very first book signing, which took place on a warm Sunday afternoon.
And it was astonishingly successful. In an incredible leap of faith, Mills had ordered around 130 copies of a book no one had ever heard of, by a writer no one had ever heard of. The store was packed, the event went on for—if memory serves me—at least three hours. I spoke for a bit, read an excerpt from the book, then signed literally every copy in the store. By the end of the afternoon, Michael was pulling display copies out of the front window to sell.
At the end of the day, I thought I got this…
Now, over thirty years later, I still haven’t had a book signing that successful. Most of my book signings have been like one I did with Sharyn McCrumb at a Little Professor Bookstore in Birmingham, where someone walked up to our signing table (and right up to it, since there was no line) and asked if I knew what the lunch special was today.
Book signings were events back then. They still are for some writers, if you’re a star. Stephen King can draw a crowd wherever he goes. If you’re a genre writer and have developed a huge following in your field, then you’re good to go. Celebrity book signings still work, and locally famous true crime books or other spectacle-type gigs still work.
But if you’re just a working stiff writer, on a self-financed book tour in a town where nobody knows you (yep, I’ve done plenty of those), book signings aren’t worth what they used to be. There aren’t as many bookstores today, so your options are more limited. The two great independent chains that were in Nashville back in the day—Mills Bookstores and Davis-Kidd Booksellers—are long gone. As a result, writers sometimes have to compete for limited signing slots at the few bookstores left. One bookstore I know has an application on their website you fill out if you want to sign at their store, and I know a number of writers they’ve turned down. And some independent bookstores, when they schedule a signing for a well-known author, actually charge admission to people who want to go hear their favorite writer drone on.
If you’re an indie-pubbed writer, then it’s even more disheartening. Bookstores, like everyone else, still have some old-school, ingrained prejudices against “self-published” writers (see last months column).
Even David Gaughran, an Irish writer who’s been a pioneer and an expert in the indie pubbing movement, wrote in his latest blog that getting out there to press the flesh—book readings and book fairs—are “F Tier” marketing strategies for authors today.
“F Tier” means a waste of money and time.
The days when books were primarily hand-sold, person-to-person in brick-and-mortar bookstores are long gone. You might sell a few books here and there, but it’s not going to move the needle on your actual numbers or your Amazon Sales Rank—and sad to say, that’s what counts these days.
So if you want to do a book signing, then do it for the right reasons: you want to hang with friends, family, fans and fellow book lovers for a pleasant afternoon or evening. Have a good time, boost your ego, have a glass of wine.
Then get up the next morning and go back to work. That paper’s not gonna sling itself.
The Writer’s Playbook: The Drummer Boy
By Steven Harms
As a contributing writer to Killer Nashville Magazine, I’ve been tapping into my career as a professional sports executive to showcase some very personal stories and observations from my time in the business. Each one has been filtered through the lens of utilizing those moments to correlate topics to discuss in the world of writing.
Here, I’m going to pivot a bit and pluck a different kind of story from my background. It’s about my journey to becoming an author and getting published. My hope is that it serves to inspire, in some way, all those who are trying to break into the business despite its tendency to be a rather difficult and complex undertaking.
Writing is our passion. It’s a creative expression full of dreams and hopes and wants. Success, comes in many forms. For me, I simply wanted to challenge myself to write a novel and get it published through the traditional process. Would I have the chops to succeed? But that question and dream followed something I accomplished that was a precursor; an undertaking that took me down a road I had never traveled.
As a backdrop, I’m a person of faith and have attended church my entire life. In the early 2000s, my wife and I started attending a non-denominational church that, we came to find out, used creative arts at times in its sermons. Specifically, dance and drama in the form of skits to underscore that day’s message. I dabbled in theater in college, but frankly, never stayed with it and moved on with my career following graduation. Apparently, the acting bug never truly left me, and I ended up volunteering to be in some skits at our new church home. I eventually started writing their skits around 2004 to provide the need for “home-grown” drama, which implanted in me the writing bug.
Fast forward a few years. I can’t tell you the exact moment, or the trigger, or the catalyst that washed over me one day and placed on me a calling to take a stab at being a playwright and write a unique story surrounding the birth of Jesus. If you are a person of faith, chalk that up to the nudging from the holy spirit. If you aren’t, chalk it up to me being a crazy half-baked dreamer.
The inspiration was quite clear and straightforward, though. The seed of the idea was to create a story using songs of the Christmas season to help drive the plot like a traditional musical does and build a compelling story arc that would touch believers and non-believers alike. The story wasn’t what you’re probably thinking. The target audience was very much adult-oriented, with the main character’s life unraveling in some very troubled waters. I also have zero musical talent, making this idea even nuttier. After a few nights of trying unsuccessfully to get it out of my mind, I dove in.
There I was, like we all sometimes do, staring at a blank screen with that heavy mixture of excitement and dread. You think I would’ve researched simple things like how to write a script, what were the dos and don’ts, generally acceptable lengths of scenes, and on and on. Well, I didn’t. I just started.
I landed on something from my childhood in the form of the song “The Little Drummer Boy.” It’s been a favorite of mine, perhaps my most favorite. I gave him a name–Mozel–and filled my head and notes with his backstory and plot line to get him to Bethlehem on the night of the birth. Along the way, literally a hundred characters came to life. Eight traditional Christmas songs were used to help drive the plot. It took me about a year to complete.
I never told my church I was undertaking this effort. I simply acted on the inspiration I was gifted and wrote the story. I distinctly remember, when it was completed, I said something to God along the lines of, “There. I did it. You asked me to do this, and, well, I did, and it’s now done.” I never held any purposeful intent to ever let it see the light of day.
Maybe a few weeks rolled by, and then something happened. The head of drama for my church had professional theater experience and was an advocate for utilizing drama as an outreach to the community. She directed some secular plays annually at our church over the years, with most of those targeted at kids and families (think ‘Wizard of Oz’ type shows). She and I became good friends along the way. We connected following a Sunday morning service, or maybe at a church picnic or something, and I casually told her why and what I had written. She wanted to read it and was adamant that I send it to her. This occurred in spring of 2007.
In December 2008, The Little Drummer Boy made its debut on our stage. All in, the cast and crew numbered around 150. We pulled together every discipline a professional theater needs, including volunteer leaders who captained costumes, lighting, sound, choir, music, ushers, parking, and marketing. We paid a local university’s drama department to build sets, leaning into their expertise based on our stage dimensions and back-of-house capabilities. The show ran for five years with four shows during one December weekend annually in 2008-2010, 2012, and 2014. Over 20,000 people attended the performances, some from nearby states who became aware of it through social media marketing. We gifted homeless veterans an entire section of seats each year. We bused them in from shelters in Detroit. They usually numbered about 300 and were the most energetic and grateful group of people I had ever been around. That alone was worth every minute of our collective efforts to bring the production to life. After those seven years, I pulled the plug due to personal burnout, and wanting the show to go out on a high note.
But something interesting happened in that final year of the show. That same little voice gave me another nudge around October 2014. Having never written a short story, let alone a novel, it told me to write one, anyway. The inspiration was the challenge, but more so, to task myself with embedding moral principles as the undertow theme within a secular book in the mystery/thriller/suspense genres. Two years later, with an edited manuscript completed, I began my search for an agent and landed at the Liza Royce Agency in New York about five months into the process. The first book, Give Place to Wrath, was published in 2017 as the Roger Viceroy Series, with the second one, The Counsel of the Cunning, released in 2021 after a pandemic pause.
While the books have been critically well-met, the sales haven’t done nearly so, which makes me a member of the overwhelming majority of authors in the world. But I press on with determination and confidence, having shifted to a stand-alone story taking shape now for my third book.
As mentioned at the start of this blog, perhaps there is inspiration for you in the telling of my road to being a published author. Mine was a voice that simply wouldn’t go away.
As I look back, I truly believe becoming the playwright of The Little Drummer Boy was a deep-dive training experience. I had to map it all out as the playwright and producer, ultimately having to devise a business plan and then follow through with the hundreds of action steps to bring the show to life. Yes, it was consuming, but the results outperformed even my most positive projections. The process taught me there are no corners to be cut, that inspirational story ideas, told well and authentically, will capture audiences, that people in your universe of contacts and relationships will help without question, that sticking to a plan produces results, and that you can jump into the great unknown and find your footing because you heeded a calling to do so.
Give it your excellent best effort. There are readers out there just waiting to dive into your book. Happy writing.
The Difference Between Passive Voice and Passive Verbs
By Lois Winston
I began writing fiction nearly thirty years ago. Over the years, I’ve attended dozens of writing conferences, both in the romance genre and the mystery genre. Most of what I learned was invaluable toward advancing my writing career. However, occasionally I’d come across inaccurate information. Such is the case with passive voice and passive verbs.
Once upon a time, somewhere during some talk or on some panel, someone emphatically stated that authors should NEVER use any form of the verb “to be.” That misinformed person said using “was,” along with its brothers and sisters (is, am, are, were, been,) was passive voice and a surefire way to receive a rejection from agents and editors. Like a bad rumor, this piece of writing advice flew from writer to writer, taking on a life of its own, until it became gospel.
I’d like to set the record straight. There’s a huge difference between passive verbs and passive voice.
Passive voice is when an action is acted upon the subject, rather than the subject acting. The car was driven by Anna is a passive sentence. Anna drove the car is an active sentence. However, Anna was happy to drive the car is not a passive sentence. Anna is expressing emotion. She is acting, rather than being acted upon. Of course, there are more interesting ways to write the sentence to show Anna’s emotions, but that’s a separate discussion.
One of the easiest ways to tell whether your sentence is active or passive is to analyze the position of the subject, verb, and direct object. In active voice, the subject (the one performing the action) will come before the verb (the action), and the verb will come before the direct object (that which is being acted upon.)
There are instances, though, when passive voice is necessary to the unfolding of a story or better suited to the realism of the dialogue. When we speak, we don’t first think whether our sentences are active or passive before uttering them. We just speak them. The same is true when writing dialogue. Manipulate a sentence to avoid passive voice in a conversation between characters, and you often transform snappy dialogue into stilted dialogue.
For example: Billy ran into the house and cried, “Mom! Come quick. Snoopy was hit by a car!” This passage accurately illustrates the way a child might respond to a car hitting his dog. Snoopy was hit by a car is a passive sentence because Snoopy is being acted upon by the car, but the child mentions Snoopy first because the dog’s welfare is uppermost in his mind. Also, by placing the last sentence in passive voice, the author is ratcheting up the tension. We don’t know until the very end exactly what hit Snoopy. A stray baseball? A nasty neighbor? A falling tree limb? Although A car hit Snoopy, is active voice, using it lessens the impact of the sentence.
Still squeamish about the use of “was”? After you finish your manuscript, do a search of the word. Check each sentence to see if you can rewrite it to avoid using “was.” If you can, and it doesn’t detract from the pacing, dialogue, or meaning of the passage, do so. If not, leave it. Some “was” are meant to be.
EXCEPT in the subjunctive.
The what, you ask? Subjunctive case or mood is one of the most misunderstood rules in the English language because it runs counter to subject/verb agreement. In other words, if a subject is singular, the verb must also be singular. But not in the subjunctive.
The subjunctive applies to cases of “wishfulness” or “what if” situations. In these cases, “was” becomes “were,” as in, I wish I were taller. “Were” is also used when a sentence or clause uses “if,” “as if,” or “as though,” but only in instances where the statement is contrary to fact.
Examples include:
If I were taller, I could see the stage better.
Her twelve-year-old son acts as if he were in kindergarten.
The maid behaved as though she were queen.
Because I cannot grow taller, the twelve-year-old is not in kindergarten, and the maid is not a queen, all the statements are contrary to fact, and “was” becomes “were” even though the subjects are all singular.
Keep in mind, though, that the key statement here is “contrary to fact.” “If” statements that are not contrary to fact retain the singular form of the verb. If I was at the store that day, I don’t remember is a correct sentence because the statement is not contrary to fact whether I can recall the event or not.
So don’t be afraid to use “was” and “were” in your writing but be sure to use them correctly.
USA Today and Amazon bestselling and award-winning author Lois Winston writes mystery, romance, romantic suspense, chick lit, women’s fiction, children’s chapter books, and nonfiction. Kirkus Reviews dubbed her critically acclaimed Anastasia Pollack Crafting Mystery series, “North Jersey’s more mature answer to Stephanie Plum.” In addition, Lois is a former literary agent and an award-winning craft and needlework designer who often draws much of her source material for both her characters and plots from her experiences in the crafts industry. Her most recent release is Sorry, Knot Sorry, the thirteenth book in her Anastasia Pollack Crafting Mystery Series. Learn more about Lois and her books at her website www.loiswinston.com where you can also sign up for her newsletter and follow her on various social media sites.
Character as a Haunted House
By Aimee Hardy
Establishing engaging and relatable characters is one of the most important parts of storytelling. Characters should have compelling backstories, relatable flaws, and fulfilling character arcs, but one of the best tools that I’ve learned about creating characters is to think of them like a haunted house.
Each house has a facade that everyone sees. This is usually the most complimentary view of the house. Passersby can admire the paint, the sweeping porch, and the manicured lawn. Everything is usually neat and tidy, and all its secrets are safely locked away inside. Even haunted houses look best from the outside.
Similarly, everyone sees certain aspects of a character. This is the image they present to society. It’s the suit jacket worn for status, the combat boots worn for protection, the high heels worn for seduction. It’s the gruff voice to establish dominance or the motherly coo to show nurturing, the helping hand they give when on the train or the kind words said at the gas station. These are the outward images that we must establish from the very beginning because they show how the character would like to be seen from the outside.
Friends are allowed access inside the house, however. Acquaintances are invited in and can see the common rooms. Those rooms are still cultivated, yet they are a little more intimate. As acquaintances become friends or loved ones, they are invited further inside the house. They see the dishes that have been piled in the sink, the laundry that is overflowing, or the tub that is in need of a good scrub. In a haunted house, we can see the evidence of ghosts. We can hear strange footsteps, feel cold spots, and see apparitions, but we can’t quite determine what is haunting the house.
Just as with houses, our characters will reveal more intimate details about themselves (and their own ghosts) as they make bonds with other characters and as we (the reader) get to know them in the story. We can see that they are kind by the way they treat their loved ones but that it hurts when no one says thank you. We can see that they are jealous of an adversary, but we can also see that it’s because they were never given the same opportunities to be great. We can see that they are smart but that they are terrified of losing their top spot. They become nuanced–both kind and resentful, jealous and righteous, smart and insecure.
Then, there are rooms in this haunted house that are so scary that the main character would not dare to enter. These rooms contain the worst secrets that will not leave us alone, and with characters, these rooms contain their deepest fears. The kind and resentful mother might fear that she isn’t worthy of being loved. The jealous and righteous bully might be afraid of being weak or controlled by others. The smart but insecure scientist might fear they are useless. The main character is haunted by these fears and can’t move on until they confront their ghosts.
So, when I write stories, I always ask what is haunting my main character. If they are worried that they have no identity, maybe they fill their “rooms” with collections. They might appear to know a lot of things in their search for their identity and might even adopt different identities as they interact with different characters. On the outside, they might overcompensate by wearing elaborate costumes or may even be so insecure that they only wear black. However you design your character, keep in mind that their house is haunted, and that in the end, their ghosts will have to come out.
Aimee Hardy is a writer and editor in Birmingham, AL. She is the author of Pocket Full of Teeth (September 2024 Running Wild Press). She has been published in Stonecoast Review, Running Wild Press’ Short Story Anthology, Havik2020, Bluntly Lit Mag, Adelaide Literary Magazine, and Lost Pilots Lit and was nominated for the Pushcart Prize in 2020. She has a B.A. and M.A. in English from National University. When she’s not writing or editing, she enjoys going on hikes with her husband and two kids or curling up with a good book and a hot cup of tea. For more of Aimee’s work, please visit www.aimeehardy.com.
Editors- You DO Need Them
Editors are essential to improving your work and aiding your success. Most writers are blind to the faults in their own writing, despite being sharp about discovering them in every other printed work. I’m no exception, and though I’m paid to evaluate and edit other manuscripts, I still pay another good editor to help make my manuscripts better. However, when I send my manuscript to my editor, I’ve done a great deal of cleanup beforehand, to give her less work to do. Note that some editors charge by the page, which is a crap system. Something that needs a lot of cleanup takes far more time than a very clean page, so go for editors who work hourly, to save yourself money. And get honest ones- my editor thought the latter half of a novel needed rewriting, so sent it back for revisions before spending hours editing something that would be significantly changed.
There are different types of editors and editing, and disagreement about which is which, as some of these terms are variable. Some combine more than one of these in their inclusive editing. Know up front what you’re getting and paying for.
Manuscript evaluation/appraisal— This high-level check is for the essential quality of your manuscript. Does it work as a book? Does it have commercial viability? Does it have the elements it needs for publication, or are there major problems which must be corrected first?
Developmental or Story editing— This is a check that the structural story works as it is, or may need chapters/characters moved around, added/deleted, or simply further detail in certain areas. Completed story arcs?
Line editing— This check is for content and flow, things like consistency of voice, point-of-view, tone, and clarity, and slack writing which may sag or need some punching up.
Copy editing— This type drills down to the precision bits on a word-for-word basis, usually working to a style type or sheet. Different copyeditors work using different standards, though, so make sure you agree with yours.
Proofreading— Checking for any and every error, in text, layout, numbering, placement, etc.
Fact checking— If you have a manuscript with a lot of facts in it, you may need one of these editors for verification of the information you’ve included.
Because most Indie writers don’t have a lot of surplus income, they blanch when told they MUST have a good editor for their work, before it goes out to the buying public. Since good editing runs $50 or more per hour, they despair at not having hundreds of dollars to make their work better. Especially when they hear that there are different levels of editing, and the work might need more than one editing pass. Ouch! When you’re talking about a thousand dollars or more for each book, that’s real money to most writers.
And if the writer is expecting an editor to wear all those hats and correct all the errors in a manuscript in one pass, and to do it cheaply, well, that’s like looking for unicorns. So the money-impaired writer is tempted to skip the process altogether, or to assume a publisher (if they go that route) will take care of that. Skipping (or even skimping) on editing is a bad business decision that will adversely affect a writing career. As a reader, when I encounter a poorly-edited book, I seldom read that author again. If their story wasn’t even worth an editing pass, then it’s not worth wasting my time to read it, or anything else by them. So what’s a poor writer to do?
It’s never too early to start your search for a good editor, to get them lined up for when you’ve got a work ready for their red pen. Know what type of editing you’ll be getting for the money and get some samples up front. Many writers got burned paying for poor levels of edits they didn’t want or need. You’ll need to do some careful research for this one, to find someone you’re comfortable working with, who can be trusted to work in a timely fashion, and who provides quality for the price. You can start an editing fund right away, even if it’s a few bucks a week. Forego the pricey coffee, young hipster, and bank those four dollars so your work will be better. Your stories are worth it, aren’t they?
Here are some ways to get your manuscript in shape BEFORE you send it to the editor. The less work the well-paid editor does, the less you pay. You’ll see that each method described here will do some of the work of different editors. It’ll catch a lot of simple stuff, but it’s extra work that takes an editor more time to point out and mark up.
Study about feedback, using beta readers, writing groups, and workshops. Get advance feedback for your work through the methods described there. Story edits for flaws can cause massive rewrites, driving up the cost of your editing, and taking a lot of extra time. When your story passes muster with all your free feedback sources, then send it on to a pro.
Our brains play tricks when scanning text, gliding over mistakes, so copy the text into a different type of file, and change the font, and the size, and print it out. You’ll catch a lot of things you didn’t see before.
Get a helper, someone to listen, and read through your work- slowly. Do this in stages, so you don’t overdo it. Mistakes will sound like dull clunks in many cases. You’ll wince when hearing some of the stuff you wrote that looked okay on paper. Mark it all and fix that stuff!
Some people recommend reading it backwards. If that floats your boat, go for it. Haven’t tried that one yet.
Check with the editor in advance when you know you’ll soon have a manuscript for them. They might be busy for weeks with the work of someone else, and you don’t want to have your manuscript sitting around. Once you’ve put in all the free feedback, and had other eyes on the text, NOW you’re ready for a proven, paid set of eyes for your work. You’ll swear up and down your manuscript is perfect, but you’ll be shocked to discover what you missed when you get it back.
On the path to success, quality is necessary to establish a trusted “brand”- with clean, well-told stories, your audience will grow. Having a lot of mistakes in your manuscript will get you dinged in reviews, and may convince some to not buy or read it. Lay the groundwork for a long-term writing career you can be proud of.
Dale T. Phillips has published novels, story collections, non-fiction, and over 80 short stories. Stephen King was Dale's college writing teacher, and since then, Dale has found time to appear on stage, television, radio, in an independent feature film, and compete on Jeopardy (losing in a spectacular fashion). He's a member of the Mystery Writers of America and the Sisters in Crime.
Why I Hate Self-Publishing
By Steven Womack
Some time ago, I gave a talk at the monthly meeting of the Middle Tennessee Chapter of Sisters-In-Crime. A week or so before that, I’d read an installment of Clay Stafford’s writing blog that put forth the proposition that writers should not give their work away. A writer’s work has meaning, Clay wrote. It has value and to give it away for free sends the wrong message to readers and to the world in general.
I’ve known Clay Stafford a good couple of decades now and have always regarded him as a wise and successful friend. When he speaks, I listen—and usually take notes.
This time, however, I had to disagree.
It’s not that I disagree with his notion that a writer’s work has value. It does, even if sometimes it’s only to the writer him/herself. All writers put an enormous amount of work and heart in to getting those words onto a page. But that doesn’t always automatically translate into value, especially value measured in sales/dollars. When there are roughly 2.2 million new books published every year (according to UNESCO), the competition is pretty rough out there and it’s hard to convince an audience that your book has value; in other words, it’s worth reading.
So I put forth the notion—based on my own experience—that the best way to get attention for your book was to give it away. In February, I had my first BookBub Featured Deal and in a four-day period gave away 24,897 eBook copies of the latest installment in my Music City Murders Harry James Denton series, Fade Up From Black. Through the rest of the month, that resulted in over 200,000 page reads. And since Amazon’s policy is to pay page reads on book giveaways if the book’s enrolled in Kindle Unlimited, I made money giving stuff away.
Enough to pay for the BookBub Featured Deal, anyway.
While I’ve given up predicting the future, I feel confident that at least a few of the people who downloaded those nearly 25,000 copies will like the book well enough to actually go out and buy the other installments.
It’s a whole new world out there, marketing-wise. Marketing in the internet age has a very long tail, and to riff on my old pal Larry Beinhart, sometimes the tail wags the dog.
***
After my talk, Clay wrote me a very complimentary note and asked if I’d be interested in writing a monthly column for Killer Nashville Magazine on self-publishing. I was very flattered, but the first obstacle to overcome was my loathing of the term self-publishing. Loathing? Seems kind of harsh. Why would anyone loathe a term like self-publishing, especially since some of the greatest writers in history published their own work?
Disgusted with his usual publisher, Mark Twain formed a publishing company to publish The Adventures of Huckleberry Finn. Charles Dickens’s regular publisher showed little interest in A Christmas Carol, so Dickens hired artists and editors and paid for the printing himself. Beatrix Potter literally couldn’t interest anyone in publishing The Tale of Peter Rabbit, so she borrowed the money to print 250 copies. At latest count, there are some 45 million copies of THE TALE OF PETER RABBIT in print. Walt Whitman self-published Leaves of Grass. The rest, as they say, is history.
In our lifetimes, the stories of self-published books that sold gazillions are apocryphal. Amanda Hocking, Andy Weir, Margaret Atwood, John Grisham, Scott Adams… all have, at some point in their careers, published their own work. And let’s not forget that whole Fifty Shades of Grey thing.
So why such distaste for the term?
I confess here that I’m an old guy. I began seriously writing in 1970, fresh out of boarding school and working on my first novel. There was no Internet then, no such thing as an eBook, and everything was old school; no respectable publisher would consider an unrepresented book, so you queried one agent at a time and if they took six months or a year to get back to you, tough noogies. They were the gatekeepers and they made the rules.
Then, like now, it seemed that every sumbitch who knew how to type thought they could be an arthur (a term coined by the wonderful Molly Ivins, when someone introduced me to her as a mystery writer—Great to meet you, we arthurs gotta stick together…)
Then, as now, there were dozens of predators out there preying on the hopes and dreams of aspiring writers. Self-publishing then was a synonym for vanity publishing, and the vanity presses were raking it in from the naïve rubes. Vantage Press, Pageant Press, and Exposition were three leading vanity presses that were, by the 1950s, “publishing” over 100 titles a year each.
Even I got roped in myself when I paid $400 to have the legendary Scott Meredith Agency read a novel of mine. Meredith, being one smart cookie, had created a whole separate company to sucker in aspiring writers like moi. I got notes back from some office drone, supposedly signed by Meredith, who needless to say, didn’t take me on as a client.
Not one of those books published by a vanity press had a chance of being reviewed by anybody, let alone a respectable press like the New York Times. No bookstore would carry them.
Writers have always been easy pickings for predators. The most egregious case in history was The Famous Writer’s School, founded in 1961 by Bennett Cerf, a Random House editor and regular panelist on the TV show What’s My Line? There isn’t enough space here to go into that con job, but it made millions by paying writers as diverse as Mignon Eberhart, Rod Serling, Bruce Catton, and Faith Baldwin to join their “faculty.” The suckers thought their stuff was being read and critiqued by Rod Serling, when in reality the work was being done by unknown copy editors. There’s not room enough here to really relate the history of this scam, but Google it. It’s an object lesson for us all.
If not self-publishing, then what?
The world of publishing today bears no resemblance to the publishing world I came of age in, and that’s a good thing. I’m already over my word allotment that Clay gave me for this column, so over the next few months (or however long this little adventure goes on), I’m going to talk about these changes and how my own experience in This Crazy Writing Life have shaped me and my career. To me, it’s not self-publishing. Self-publishing means your stuff’s so bad, you’re the only who’ll touch it.
I prefer the term independent publishing. Going forward, I’m going to talk about how we, as writers, can take control of our work and careers, take back the power from the gatekeepers, and become the kinds of writers we want to be, with the kinds of careers and lives we want to have.
This’ll be a journey we’ll share. After all, as Molly Ivins once said: We arthurs gotta stick together…
The Writer’s Playbook: Michael Jordan, Me, and a Poster
By Steven Harms
To all aspiring authors, this one’s for you.
I’m fortunate to have two published books with a third taking shape on my computer, but aspiring I am. To be sure, my journey has had its share of bumps and bruises. For new and aspiring authors, the headwinds of the publishing industry are not only real but magnified. One big hurdle is securing a literary agent if you’re inclined to go the traditional route. That’s followed by the excruciating rollercoaster ride of landing a publisher, which comes with a healthy dose of rejection. Or, you can go self-published, but then you must manage the entire process and the burden that presents with perhaps a steeper climb to the top. There’s no right or wrong method. The point here is the odds of becoming a best-selling author are not favorable.
For as many authors that have “broken through” and reached a level of success, there are immeasurable others that haven’t, despite pulling all the right levers. With two books out, I’m decidedly in the second camp.
The reality is that there’s an ocean of books out there, and it can be daunting to wade into those waters. Establishing your brand, marketing your book, growing your sales, getting exposure, building a following, and then, ultimately, hopefully, expectantly, and with a measure of luck or timing or both, you catch a wave and ride it to the bestseller list.
I have an amazing agent and a supportive publisher, and I’m grateful for her. Killer Nashville Magazine also taking me on as a contributing writer has been a fantastic blessing as well. Yet, like so many others, I’m still in the trenches looking up and trying to break through.
In most any endeavor, realizing one’s dream includes a dose of luck and timing. They are uncontrollable variables, and they are real. Ask any athlete, actor, model, artist, singer, or musician. If you reach the elite echelon of one’s chosen pursuit, there was some degree of those two elements somewhere in the process.
With all that as the backdrop, my career in the sports business affords me an interesting take on the journey to author success. The parallels are weirdly similar.
At this juncture, you may be asking, where does Michael Jordan come into the conversation? Well, I had a unique experience that sort of captures my points here. Let’s jump back to February 7, 1988, inside the old Chicago Stadium, former home of the Chicago Bulls, and to the NBA Slam Dunk contest going on as part of the NBA All-Star Weekend. Specifically, let’s move ourselves down onto the court. And to the Slam Dunk staging area courtside by the Gatorade table near mid-court. That’s where I was stationed.
I was there at the request of the NBA to help manage the event. At that time, I was with the Milwaukee Bucks as head of ticket sales and the NBA had gotten to know me. They pulled in three team executives they knew they could rely on to help. Besides me, Don Johnson from the Denver Nuggets and Brad Ewing from the Houston Rockets were part of the team. We became a three-headed event manager, taking lead from the NBA’s VP, Paula Hanson. Thus, the headsets. We were to ensure that the participating players were seated in line as instructed on the team bench, and that we had the next player to compete informed and sent to that mid-court table to wait their turn for the competition. That’s where I was stationed, while Don and Brad were on the sideline managing the media and player positioning. I was there to keep the player in place and tell him when he should go.
I relay all this for a reason.
That Slam Dunk contest is now part of the annals of NBA lore. It was, to some extent, Michael Jordan’s coming out party that cemented his reign over the NBA for years to come. He beat out Dominique Wilkins to win the slam dunk title, and in the process, executed a dunk where he sped the full length of the court and leaped at the free throw line to slam home the basketball. In mid-air, he looked like he was flying with his left arm slightly back, his legs like wings, the ball held high, and his elevation almost inhuman. A photographer captured that moment, and the photo went on to be a best-selling poster every fan wanted. Smart phones and personal devices with cameras weren’t around back then. Images of celebrities were monetized through posters sold at retail locations (no internet either!).
Look up that moment online and you’ll see two well-dressed guys on headsets squatting on the sideline, each sporting a mustache. That’s Don and Brad. On the poster. Forever. To the right, the Gatorade table where yours truly was squatting is cropped out. Forever.
The three of us were equals. We each were young executives doing the same job for our respective teams, having got to that point because of our talent and capabilities. The NBA noticed us. We did all the right things to achieve our position. We worked hard, put in the hours, learned our craft, and improved ourselves by networking and just being in the business. But at that moment, on the floor of the Chicago Stadium, something unexpected happened to my two colleagues. They caught a break in that they’re visually and permanently part of a historic moment. And for the record, I have zero consternation that I was cropped out. I’m genuinely elated for them both.
I tell this story because it speaks to our ambitions of finding success. As aspiring authors, we’re all the same in many ways. We have talent. We can write compelling stories. We network and learn and improve. We pour ourselves into our dream and spend countless hours writing, editing, rewriting, marketing, and sweating over the details. But sometimes, it simply comes down to luck and timing.
And maybe I should’ve added Thomas Jefferson to the title of this article, because he said something that should give all aspiring writers some solace we’re doing all the right things to succeed. Jefferson is quoted as saying, “I am a great believer in luck, and I find the harder I work, the more I have of it." The newer version of that is “The harder I work, the luckier I get.”
So, keep writing and keep working hard. A dose of luck is an element to success in most any field. Stay the course and know that the road we’re on isn’t necessarily paved, rather that it’s a bumpy ride with potholes and hills to climb. But keep driving. Luck and timing seem to find their way to those that persevere.
Agents- You Don’t Need Them
In the past, literary agents were sometimes useful and necessary for selling a manuscript to a publisher, and as an author representative, negotiating a better deal for the author for the sale of the book rights. Unsolicited, un-agented manuscripts were often sent to the publishing house. These were called over the transom (the crossbar above a door), because in the olden days, some were literally pushed through the window portion over the transom in the hopes that someone would read them. They would be dumped into a slush pile, and good luck to anything that broke out of that oubliette. Once in a great while, somebody would scan some of the manuscripts in the pile and find a pearl in that mountain of clamshells (not even oyster), and a miracle occurred, and the book got published. Extremely low odds, but it didn’t stop the flow. Hope springs eternal in the hearts of writers.
In the latter part of the twentieth century, the publishing houses churned in a frenzy of consolidation and mergers. The people taking them over were interested in profits more than literature, and things changed dramatically. Many people who had been in the business for the love of books went away (voluntarily or just cut), and the ones remaining had to do more with much less. One thing that got outsourced was the discovery of buyable manuscripts. Many publishers announced they would not accept unsolicited manuscripts. Some still did, even though they advertised the opposite. They just didn’t want to deal with what they considered were piles of junk. So they pushed the work of editors and screeners onto literary agents, who would take on the burden of sifting through submissions for the needle in the haystack, the sellable manuscript. Agents became the gatekeepers to the Big Leagues- if you didn’t have an agent, you couldn’t even get someone to read your work. Agents were convenient for traditional publishing, because they’d recommend manuscripts that had some merit. If an agent sent nothing but duds, they wouldn’t be around long.
Generalization follows. Agents screen by what they think will sell to the handful of editors they have contact with. And instead of reading actual manuscripts to start, they rely on the query letter from hopeful authors. A (usually) one-page letter is a summary of what the book is about. It can be scanned rapidly, and usually discarded. Their reasoning is that if a writer cannot write a good query, the manuscript isn’t likely to be good. So now New Author must spend a lot of time composing the Perfect Query, all to hunt for the elusive Great Agent, who will take them on, to find the Perfect Publisher. Trouble is, the Great Agents are all booked up, and few are taking on new clients. Guess where that leaves New Author? Going through listing of potential agents to query, studying what kind of book they prefer to represent, and firing off a batch of queries to the selected group. Why in batches? Because the agents then usually take their sweet time about responding, if they respond at all. It can be days, but is more often weeks or months before the author hears back. And the response is usually “Thanks, but it’s not for us.”
How does one find a good agent that will take them on? At this point, it’s a matter of rare good fortune. While there are excellent agents, there are some who are just awful, and a portion who are downright toxic or even criminal. Some famous authors have struck deals with well-bespoken top agents, only to discover horrendous abuses. See the horror stories of Laura Resnick and Kristine Kathryn Rusch. Sometimes the agents wouldn’t bother notifying the author of additional potential deals. A bad decision by an agent can be costly. And that’s just the honest ones! But new writers are so desperate to get an agent (a process that can often take years) that they’ll sign with the first one who indicates interest. It can be a catastrophic mistake.
The problem is that anyone can say they’re an agent, hang out an agent shingle tomorrow, run an ad or two, and within a few weeks, probably have hundreds of submissions, because there are so many people hungry for traditional publishing that they’ll sign with anyone who’ll take them. They’ll be taken, all right, usually to the cleaners.
Agents need no certification or education, no degree, no proof of ability, no license, no standards. It’s all voluntary. In many cases, they give legal advice on complex contracts (which benefit themselves)- in other words, practicing law without a law license, which is actually a crime. Thousands of authors hand over their careers and money to absolute strangers, with little or no vetting other than they saw a listing somewhere. And then a few emails and a phone call or two. “They seemed nice, and eager to work with me.”
The publishing houses mostly send the money due the author for advances and royalties to the agent/agency. When does the author get paid? At the whim of the person holding the money. Imagine if your employer sent your paycheck to your bank, who then decided when and how much to give you of the money you’d earned!
It’s always a good practice to be in charge of your own finances. If you do decide to sign with an agent, try to work it so the payments from the publishing house go to you first, or to each their share. After all, the agent is supposed to be working for you. Then you pay the agent. Unusual, but not unheard of.
Other problems with agents are that if you decide to part ways, you might still have to pay them forever for any of your books they represented, or even any you sold elsewhere while you were signed with them. Yup, you could wind up forking over your 15%, even twenty years after you got rid of them. Worse than alimony. And if they sold anything of a series, they may try to get a cut of any future things you sell from that series, even after you’re no longer working together. Dean Wesley Smith (with over 40 years of experience) says writers don’t need agents anymore. He says it’s like giving fifteen percent of your house value to the person who cuts your lawn.
Many authors say they love their agent. Some authors don’t want to talk about bad experiences with agents, for fear they’ll be blacklisted, because the Manhattan book world is a tiny bubble. And it’s possible an author might not even know for a long time they’re being badmouthed in the industry, and why doors are closed in their face. But many more will tell of the hell they went through with agents. One well-known example had an author finding out only years later that their agent had died!
If you want to work with an agent, be careful. Have any contract with the agent and with a publisher additionally vetted by qualified, licensed Intellectual Property attorneys, not just agents who say they know what they’re doing. In the new world of publishing, agents are far less useful than they used to be. With all the changes, it’s getting tougher for them to make a decent living as well. Not having an agent means not having to give up a good chunk of profits, which are slim enough.
However, if you want to meet agents, writer conferences are the best places, because many agents go there to find new clients, and expect to get pitched. Some agents even schedule pitch sessions at these conferences, where a prospective writer has a few minutes to pitch the agent on a book proposal. Many writers get asked for part or all of a manuscript, based on those few minutes. At least the agent will give it a chance.
If you do this, have a killer tagline to catch their interest. Follow with a few sentences similar to a description of other books the agent has done, or top-sellers. Think high-concept: for example, Gone Girl crossed with Silence of the Lambs, that sort of thing. Keep it simple, exciting, and show you know the marketplace and what type of book that agent represents. Most have their likes and dislikes available on their website, so do your homework first. Some give precise guidelines for how to pitch them. Don’t think your manuscript is so wonderful that a strictly children’s author representative will suddenly want your adult science fiction novel (yes, this kind of idiocy still happens). But if your book is like others the agent has represented, say so.
Your pitch could go something like this:
“Hello. I’m [author name], and my novel, A Time for Tea, is an eighty-thousand-word cozy mystery about a blind librarian who solves crimes in her small Welsh village. It’s similar in tone to Murder by the Sea, which I see from your website you represented. This is my first novel, although I’ve had mystery stories published in [credits].”
This pitch shows the author has done their homework, and in many cases, the agent would want to hear more. The conversation might end with the agent asking for a partial manuscript, maybe the first fifty pages or so. I’ve seen this happen so many times at conferences, and the writer comes out of the session stunned, starry-eyed, and grinning from ear-to-ear. It’s wonderful to see dreams come true, so give them the moment and don’t harangue them with lectures about what other paths they might want to think about. If they’re happy, let them live their dreams. Of course, if someone asks for your advice, wait a bit and then give them the truth as you see it. Just don’t volunteer to be a buzzkill or dream-crusher, and remember that timing is everything.
Remember that you don’t need anyone’s permission to publish, nor do you have to wait years to be chosen by gatekeepers. You can publish independently while you pursue a traditional path if you want, becoming a hybrid author, or any way that makes you happy. And if you achieve outstanding success as an independent, the traditional publishers will then want you even more.
Dale T. Phillips has published novels, story collections, non-fiction, and over 80 short stories. Stephen King was Dale's college writing teacher, and since then, Dale has found time to appear on stage, television, radio, in an independent feature film, and compete on Jeopardy (losing in a spectacular fashion). He's a member of the Mystery Writers of America and the Sisters in Crime.
The Use of Mysteries in the Classroom
By Amy Denton
In the public school or college classroom, multiple issues face the teacher, one being what to cover and how much to cover in the subject the class is about. Should the class be about history or English? A ready-made assignment is analyzing fiction for the subject. This practice teaches your students that not everything they read is dull, dry, academic text. Analyzation also uses those all-important critical thinking skills. If you're looking for a text that is a good fit for this assignment look no further than the Joe Leaphorn and Walt Longmire novels, written by Tony Hillerman and Craig Johnson, respectively.
In the history and English survey courses, what the student perceives to be the truth can greatly affect how they understand and process the information they are given. It is one of the jobs of the teacher to find out what those perceptions are and find a way to work with them. The easiest way to discover those preconceived notions is to ask. Don’t be surprised by the answers. Make a list. This list of questions is vital for opening the students’ minds to understanding something they may or may not have thought about---what people are like in other parts of the world and/or their own country.
Ask them where their information about Native Americans comes from. Do not be surprised if the main answer is the internet, TV, or movies. Students today live in a highly digital society. Having easy access to vast amounts of knowledge is both a blessing and a curse. It’s a blessing in that they can find whatever they need for a class, quickly and easily. But it can be a curse if the information is wrong. It’s a conundrum that has perplexed both college professors and high school teachers since the rise of the internet---how to get the needed information to the students without losing their attention but without turning the subject into a three-ring circus in an attempt to keep the students’ attention.
The answer? Use the media they are used to, video, in the form of tv episodes or movies as well as print media. Use an author who has won awards ranging from the Mystery Writers of America and the Agatha Malice Domestic Award for Lifetime Achievement to the Navajo Tribe’s Special Friends of the Dineh Award. Use Tony Hillerman.
The novels themselves will be a throwback in time for students who know no other world than computers, iPods, and cell phones. The first novel in the Joe Leaphorn series was printed in 1970, long before either they—and in some cases, their parents—were born. The first books in the series have no technology and give students a look at what life was like before technology took over. In that brief look, so much can be discovered: about the Four Corners area, the relationships between the characters, and, most importantly, the culture of multiple Indian tribes. It is through the stories that the students will learn about the different tribes, their traditions, and their differences.
A good place to start the analysis is to look at the background of the writer and where his inspiration came from. The answer is in this case is simple. Hillerman wrote about what he knew. He lived among the people he wrote about. He started writing in the late 1960s, before computers. Research was done the old-fashioned way, living in the setting and among the people in the books.
His inspiration, Hillerman claims, came from an Australian mystery writer Arthur Upfield. Upfield wrote a series of novels set in the Australian outback featuring Detective Inspector Napoleon Bonaparte, “Bony,” of the Queensland Police Force, a half white, half Aborigine. That Hillerman was inspired by a native Australian to write mysteries staring Native Americans make his stories all the more compelling.
The landscape of the Southwest is as much a character as Joe Leaphorn or Jim Chee. From Window Rock in Arizona to Shiprock in New Mexico to Tuba City back in Arizona, the depth and the breadth of the Southwest is on full display in all of the books. An interesting avenue to take in class would be to assign specific regions from the books to students and have them research the area and the people that live in it. In this way, the students not only learn about places they have probably never heard of, but they also learn about the people who live there and why they live there.
All of Hillerman’s novels are steeped in Native American culture; usually Navajo but sometimes Hopi and sometimes Zuni. In the first book in the series, The Blessing Way, the reader is introduced to half of one of the major Navajo song ceremonies, the Enemy Way. The ceremony is done to counter the harmful effects of the “chindi,” a ghost left behind after the death of a Navajo or to kill off a troublemaker. Joe Leaphorn attends an Enemy Way ceremony at the beginning of the book because of a body he finds. In the course of the story, the reader learns that the trouble maker, responsible for the body, is a Navajo named George Jackson, who was hired by Jimmy Hall, to keep people away from an Anasazi pueblo. Hall was collecting radar data from missiles being tested on federal land near the reservation. He had hoped to sell the information for a million dollars, a lot of money in 1970. In the end, Hall fails, shooting himself as Leaphorn approaches.
In The Blessing Way, the reader discovers the Navajo philosophy of keeping peace in one’s life versus the desire for money. The book can be seen as a morality tale--- this is what can happen when the desire for money overwhelms everything else--- but it is first and foremost an excellent mystery. Seventeen novels continue Leaphorn’s story, each a study in Native American culture.
Craig Johnson, author of the Walt Longmire mysteries, is another author prime for this assignment type. The series are alike in that they use Native Americans and the life on Native American reservations in their stories. The difference is that the main character in the Longmire series is white. However, his best friend , Henry Standing Bear, is Cheyenne. Longmire doesn’t work for the Tribal Police (Leaphorn does). He is the sheriff of Absaroka County, Wyoming. And he often has to deal with Native Americans from the reservation located in his county.
The Cold Dish, the first book in the series, deals with a young Cheyenne girl suffering from fetal alcohol syndrome. She is sexually assaulted by four members of the local high school football team. Two years after nominal sentences are handed out to the boys, the least repentant one is found shot to death. The Cheyenne Nation is considered a sovereign nation within the borders of the United States, meaning Longmire, as an outside law enforcement officer, is not allowed to walk onto the reservation whenever he wants. The conclusion of the story will have students talking long after they have finished the book.
Like Hillerman, Johnson lives in and among the people he writes about, near both the Crow and Cheyenne reservations in Wyoming. He has used people living on the reservations in the creation of some of the characters. Unlike Hillerman, Johnson came to writing after a career in law enforcement. He grew up in a rural part of the U.S. and comes from a long line of storytellers. Johnson claims he is just the first one in his family to write stories down. Among his many awards is the Tony Hillerman Mystery Short Story Award in 2006 for his short story “Old Indian Trick.”
Johnson has also had the internet and social media at his disposal since he began to write. The use of both in the classroom can make the learning of such complex concepts as “sovereign nations within a nation” or the status of federally recognized tribes in the U.S easier. After reading his books, students can go to Craig Johnson’s website, download discussion questions and bring them to use in class. The questions are not easily answered. This makes for ready-made class discussions.
Another media available for Johnson’s work is television. Hillerman had three of his novels turned into movies. Dark Winds is a recent television adaptation of his work. A&E aired the first episode of Longmire in June of 2012, followed by two more seasons. Netflix produced three additional seasons after that.
One activity suggestion, from the storytelling perspective, is to have students choose a Native American character from the television show and explain why he is the way he is. Two possible examples are Acting Police Chief Mathias, the head of the Cheyenne Tribal Police, or Jacob Nighthorse, a Cheyenne businessman building a casino to benefit the Cheyenne with jobs and the proceeds of the casino. Students might also compare the Walt Longmire depicted in the books with the Walt Longmire seen in the television show to see what the differences are between the two and why.
The episodes of Longmire cover a variety of topics from the modern-day such as the treatment of Native American women. One of the best episodes is from the third season,“Miss Cheyenne.” At its heart, the entry deals with one of the many depredations visited upon Native American women, disguised as “help,” forced sterilization. At the end of the episode, a former Miss Cheyenne is discovered to have murdered the sons of a doctor who sterilized her many years ago without her consent or knowledge during a minor operation. A simple question to ask the students is: Why did the doctor decide to sterilize the woman? To look at it from another angle, why did the woman kill the sons of the doctor? Why not kill the doctor himself? These questions can lead the students to think of Native Americans and their lives in new ways.
Another part of the same episode deals with the Miss Cheyenne pageant, a real event that takes place every year and was “borrowed” by the television show. Contestants in their exquisitely beaded costumes are shown doing ceremonial dances that are part of the pageant. When the students see the costumes and the dancing, they see the real thing. This opens another avenue of questions. What exactly is the Miss Cheyenne pageant? Asking that question and more like it can be answered and discussed in the classroom as an extension of the Native American-White relations or Indian cultures.
It may have never occurred to either man that their mysteries would be used to broaden high school students’ knowledge of Native Americans. The gift of using the Joe Leaphorn/Jim Chee novels and the Walt Longmire series in history, English composition or Literature, is that it makes the class come alive.
Amy Denton been writing since high school and has been making up stories to amuse herself since she was a small child. Currently, she is a lecturer at University of Houston in the English Department. Denton also teaches history online at Southern New Hampshire University and Lone Star College. She is working on a paranormal mystery about a vampire mystery writer who is being stalked, titled Ink and Ashes. It was a finalist in the 2022 Claymore Awards.
The Writer’s Playbook | A Ripe Kumquat
By Steven Harms
“Fumble at the thirty-two-yard line! Rod Smith jumped on that ball like it was a ripe kumquat!”
That line was uttered during a radio broadcast of a Detroit Lions home football game. And I’d bet my life savings that “kumquat” hadn’t been used in an NFL broadcast prior and would never be again. The Lions radio color announcer, Jim Brandstatter, made that rather pointed reference to a Lions defensive player recovering the fumbled ball. The idea of a kumquat on a football field conjures up a comedic image. A fumbled football is sort of one itself: as the ball bounces around, players scramble to get it; sometimes they accidentally kick it or refumble it as they frantically try to hold on. In the context of a fumbled football, using a kumquat simile was perfect.
Why did he say it that way? Well, he and I had a weekly challenge when I was working for the Lions. Each week during the season I would give him a word that he had to weave into the broadcast. I wrote it out on a small piece of paper about an hour before kickoff, entered the broadcast booth, and subtly handed it to him. It was our “thing.” If he was able to insert the “word of the game” into the broadcast each week during the season, I owed him lunch. If he missed one game, he owed me the same. As the weeks wore on, I had to get more creative if I wanted to win, and I thought I had him trapped with “kumquat.” The fumble happened in the fourth quarter, no less, of that game. Jim told me afterward he was on the verge of losing but for that fumble.
The point is, using a kumquat as a descriptive simile worked. In fact, it worked very well. Reimagine the utterance if it was a ripe apple, green bean, onion, or ear of corn. Not quite the same for some reason, is it? Or worse, if he stated “like a ripe egg” or “like a noisy kumquat.”
Bad similes are story killers and can take an author’s credentials down a few notches on the reader’s scale. They undermine a reader’s engagement with the story and implant in them a negative distraction that may carry throughout the rest of the book.
However, a well-written simile can evoke just the right emotion. As a creative tool, it paints a picture that resonates in readers’ minds—good or bad—but it clicks. Similes can be quite powerful if written well and deployed at the perfect intersectional moment.
A few rules to follow in writing similes (and there may be others):
KEEP THEM LOGICAL
The simile must be logical in comparison with the moment described, and it must have an immediate connection for the reader. If the reader needs to pause to think through the comparison because it doesn’t compute, don’t use it.
USE THEM SPARINGLY
Overuse of anything is generally not an effective strategy. I’ll relate it back to sports. If a football team always runs to the left on first down, the maneuver becomes boring and predictable and unsuccessful.
STAY WITHIN COMMON KNOWLEDGE
A simile that uses unique or uncommon elements in the comparison can destroy the moment because the reader can’t grasp what it is you’re trying to say. If Jim Brandstatter had said “Rod Smith jumped on that ball like it was a timorous mangosteen!” (a real fruit from Southeast Asia), he may have been fired the next morning, or at least ridiculed for a full week.
STAY CLEAR OF SIMILARITY
When you’re deciding on a simile, ensure the two components of your comparison are different enough to drive home the point. As an example, a sentence that reads “She ran up the hill like an athlete in training” doesn’t give the reader much clarity on what that character was doing, since athletes do run up hills as part of their training regimen. There’s not a lot of separation. Conversely, “She ran up the hill like a wounded deer” creates an image of a frantic person, hobbled by fear as she’s trying to get somewhere fast and out of sight.
Whenever similes are deployed, read them to yourself to see if they’re effective. As an example, one of my characters in The Counsel of the Cunning voices his feeling that what he and his assistant detective are experiencing during their hunt for a missing person isn’t adding up. He amplifies this and says, “it’s like a duck in robin’s nest.” The point being that while a duck and a robin are both birds, their distinctions are profound, and a duck would never, nor could ever, be in a robin’s nest. He instinctively knows something is “just off,” and he uses this simile to make the point. He’s saying a bird in a nest is right, but the type of bird is wrong, or the nest should be in the water and not in a tree. In other words, their hunt is going in a direction that gives him pause, that makes him think something’s amiss, but he can’t quite put a finger on it.
Similes are a great tool to propel a story or a moment or a character description. But they are a unique tool and need to be done with precision if used. Don’t shy away from using them as writers, but be tactical in placing them and intuitive in writing them.
A writer's hardest work begins when the presses stop!
By John MaGuirk
Is the world ready for us?
I’ve watched Doris Kerns Goodwin sit in a drafty hall, sign books, and make small talk with strangers. She has won two Pulitzer Prizes.
This is the blog you have been waiting for: Number 3 in the series producing your audiobook.
We’ve bought the equipment, learned how to use and edited our effort. What happens next?
Journaling, Blogging & Podcasting are three sides of a single coin. If you think of a Podcast as a spoken blog, you’re almost home.
Every Podcast is three things: creation/writing, performing/producing & distributing.
I hope what you may have been doing is bombarding your friends, family & mailing list with promotional material. If our friends won’t buy our book, maybe it’s time for new friends. You’re stuck with your family.
I used my first novella as Christmas presents for some family & close friends and sent a review copy to a media friend. I also mailed PDF copies to friends who were confined to home by illness.
I posted installments on my website, but not the concluding chapter. Your first chapter should contain a further special offer. Every episode should invite feedback. For your website, get professional help to build a subscription offer and/or a sales funnel.
It’s possible to distribute any file through your website. The trick is to build a proper sales funnel to channel subscribers to your premium content. That’s a task for your webmaster; websites are always collaborative efforts. It takes two to tango, as they say.
A webmaster creates the site, and a content provider (writer) gives the site substance ie. Make a post! The webmaster should assist you by building the sales funnel or channel which directs visitors/users toward your premium content.
You may invite readers to subscribe via your website or through Facebook, for content to be delivered direct to their inbox by subscription.
An audiobook is just one more arrow in your quiver and if you have built your sales funnel properly you don’t have to share with anyone else, not even Amazon. But you have to do your share by creating the best content you can manage and demand equal performance from your webmaster.
FYI/iBooks author by Apple permits the inclusion of video, and audio along with the text.
Another promotional tool is to create a CD for mailing to friends and associates as a sample, be sure to include a “special offer” or mini sales funnel on the CD.
At the end of each production be sure to encourage feedback. It’s the audio equivalent of a “sales funnel.”
Yes, any MP-3 is indeed a large file, especially if it has a run time longer than 30 minutes. Exporting content to a Cloud server aids in compression.
Although we are unaware of it, radio personalities or newsreaders speak just a little faster than our normal speech pattern.
That makes it necessary to plan your work into as short segments as you can manage. Try to stay under a maximum of 45 minutes of reading time.
The message I write for is: “that was great send me more….”
John MaGuirk creates, writes & produces digital content by PodCast. Since his debut in 2011(December) he has produced over 1100 unique episodes.
Zenith Man
Maya Angelou once said, “There is no greater agony than bearing an untold story inside you.” Since the 1999 acquittal of my client Alvin Ridley, an eccentric TV repairman accused of holding his wife captive in a basement for almost three decades before killing her, I knew I had to tell his story.
But there was one element missing—a satisfying ending.
I could easily explain, as I did to the jury, that Virginia Ridley was never held captive by Alvin. I could even show that she was not even murdered. What I could not explain was Alvin, the most difficult and demanding client I ever had as a small-town defense attorney. Why was he so hard to deal with? Before the trial, his entire social circle had consisted of his wife and one close friend, a character who was even odder than Alvin himself. Known as “Salesman Sam,” this pal rode around on his bicycle, pestering people to buy the promotional items he sold from catalogs he carried in his bike basket. He also (annoyingly, to me) often gave Alvin his so-called “expert legal advice,” which often countered and interfered with the legal advice I was giving my client.
After Alvin was acquitted, I continued to help him navigate the world that seemed to thwart him at every turn. We continued to have lunch together every week. Our friendship became important to both of us. But I still couldn’t figure the guy out. Forensic Files, A&E’s American Justice, the front page of the Washington Post, People magazine, NPR’s Snap Judgment, and FujiTV (Japan) all produced the basic outline of Alvin’s story, but none could explain the main character. The quirky TV repairman seemed beyond explanation.
A screenwriter friend wrote our story, and it was acquired by New Line Cinema under my suggested title of “The Zenith Man.” But after five years, it was clear that it was going nowhere. I tried finding co-writers to help write the book of my story, but one by one, each promising effort fell flat. I began to write down episodes from the case, just to preserve the story. I also sharpened the telling of the story in spoken-word, which I usually delivered to small social gatherings where drinking was involved. My friends could tell I was obsessed with it.
Then one day, someone pointed out a book being sold online with the same title that I had shared with New Line Cinema—Zenith Man — about a failed TV repairman accused of locking up his wife for decades. On brief inspection, I could see that it was our story! It changed all our names and location in this short story. What angered me was that it was being touted as original fiction. After my protests, the author of that book later changed her description of it to “inspired by true events.” But I was hurt, feeling like something very personal had been taken away from me. Frustrated at myself, mostly. We were “fair game” —I had been giving the story away!
Around this time, I was working on telling the story again with a podcaster at my undergraduate alma mater, the University of Tennessee at Chattanooga. A juror from our trial, who had moved to Alaska to work as a nurse, mentioned to the podcaster that she thought Alvin might be autistic. A lightbulb turned on in my mind. Within weeks, an expert on adult autism evaluated Alvin in Atlanta. The testing showed that he was very much in the autism spectrum.
The diagnosis gave me a new appreciation for the problems that Alvin had struggled with all his life and that had culminated in his murder trial. It also gave me what I had sought for Decades—an ending to my story. I could at last explain Alvin. That others like him could have similar experiences with the justice system in the future spurred me to action.
I met Bonnie Hearn Hill, an accomplished writer and editor, who read my scribblings and convinced me I could write Alvin’s story. She helped me develop a proposal and shared it with her curated short list of agents. That’s how I met Linda Konner, who agreed to represent me as a client. She sent the proposal to Michaela Hamilton, editor-in-chief of Citadel Press at Kensington Publishing Corp., who signed it up. I cannot stress enough the influence of these three women. If I have any success, it will be because of them.
My book contract called for a manuscript of 90,000 words. The problem was, the first draft weighed in at 177,000 words. Bonnie told me firmly but graciously what was working, what wasn’t working, and what should be cut. It was agonizing. We ended up with a lean and clean book of 98,000 words.
My excitement went through the roof when my book went online for presale on several bookseller sites in late May 2023. There it stood online alongside the “other” short story, which was now being given away for free. Soon they were both joined by yet another book, priced at $4.99, entitled “SUMMARY of Zenith Man by McCracken Poston Jr.” There, in 47 pages of A.I. drivel, a lawyer by the name of Rebecca Mitchell saved her client in a generic courtroom depiction of a trial. I was a woman! I went into action, and by the time I got through, the fake book was gone from all the major sites. Later I was told the project came out of Nigeria, in what seemed to be a scam designed to delude some confused or budget-minded purchasers.
Deciding that selling copies of my book was the best revenge, I signed up for Killer Nashville and had some promotional material printed up. I gave it to (or forced it on) everyone I met at the conference. The next day, I was thrilled to see a bump in Zenith Man’s Amazon Sales Rank. I learned that the ASR could fluctuate wildly, even in response to just a few sales, but it served to motivate me. It provided just enough dopamine to keep me going. I continued to drive the presale campaign at every opportunity.
At this writing, the publication date is a few weeks away.
As I continue my ground-level campaign, asking everyone I meet to support my book, I found an unusual sales aid from an unexpected source. Back in 1998, while I was defending Alvin’s case, I tried to get Salesman Sam on my side by buying some of his useless promotional items — cheap personalized pens inscribed with “McCracken Poston, Lawyer.” A gross of them soon arrived, and I quickly realized they were dried up and useless on arrival. Don’t ask me why I saved them. But it turns out, they now serve a purpose.
When I started talking to people about Zenith Man, I offered to give one of these twenty-five-year-old useless dried-up promotional pens to anyone who sent me or showed me their preorder receipt. To my amazement, people love them. After twenty-five years, the pens are finally of good use to me. You never know what can come in handy when you’re promoting your book.
And speaking of promoting, by the time this article is published, Zenith Man: Death, Love, and Redemption in a Georgia Courtroom will be a published book. And the campaign goes on!
McCracken grew up just across a creek and the state line from Killer Nashville founder Clay Stafford. They frequented the same country store in his hometown of Graysville, Georgia. Poston is a criminal defense lawyer in Georgia and Tennessee. His book, "Zenith Man: Death, Love, and Redemption in a Georgia Courtroom" (Citadel, Hardcover, February 20, 2024), is about one of my cases. His client, failed TV repairman Alvin Ridley, was accused of some terrible things, including murder. We all had him wrong.
Horror with Character
By Mark Anthony
Many years ago, I had a bizarre and uncomfortable nightmare. One of those unsettling dreams that plagues when you wake. Hoping it won’t come back, it replays behind your eyes as you go to bed the next night. Whilst working as a Cancer Nurse, COVID decided to arrive, and I found myself living in a very unsettled, scared, world. From this, I decided to finally play with those scenes that had kept expanding in my mind. Quite naturally for me, my imagination began to weave them into a story. Building upon thought, creating visions and moments like jigsaw pieces which, as my mind was manifesting them, it was piecing them together to form complete pictures.
I have always been a storyteller and, on reflection, a fan of very specific stories. Whether written, or on screen, I have always been drawn to tales of normal people in extraordinary, otherworldly, situations. The archetypal stereotype of the determined hero, the ordained victim, and the clear win or lose motive, did not interest, or inspire my imagination. The tropes of the pure virginal hero and the twisted, ugly monster arguably had their time. The audience became desensitised to heads rolling. To blood, blood, and more blood.
However, the juxtaposition of a normality infected by a world of stark anomalies and extraordinary dangers enthralled me. The closer horror is entwined with reality, the more unsettling it can become. The harder it is to draw that line between fantasy and reality, between the good and the bad, the more horrific it can be. And a key aspect of creating this uncanny stage is the characters within it.
In the beginning, the first of the LIT novels started with the framework for one, single protagonist. Her physical appearance, her mannerisms, her voice were a mimicry of someone I already knew. A real, tangible person used as a blank sheet to add the vast amounts of color that would make her an intriguing, natural individual in this dark world that I planned to create. I had a rough idea of what would happen and how I would develop the atmosphere that would be humming throughout the entire story. Foreboding, bleak.
The first chapter was all about her. Intimate, and to be honest, as much as it was there to reveal her essence to the reader, it also served to plant my own seed of who this young woman was and would become. Strong, stoic yet selfish. Determination fuelled by self-absorption. Clever and manipulative.
In the third chapter, Sam was created. An amalgam of different people from my past. A dynamic young man, smart, candid, and irrepressible despite the horrors that hid within. A rebel within his own mind. Most people can relate to this. There to push against the inner demons with varying degrees of success. He was to be an open book, in stark contrast to the pure, but damaged, introvert of chapter 1. An openly gay man who demonstrated that we all have so much more in common with each other than not.
The second chapter, however, was an afterthought. I find it very interesting on reflection that he quickly became a reader favourite—a 9-year-old boy. A pure innocent. A character there to inject heart and yes, I will admit, give this horrific tale some balance. It is funny but I once had him described to me as the “pathos” of the story. . .and I felt largely offended! Yes, I was genuinely offended, not about this young character but. . .for this young character. However, he fulfilled the ‘pathos’ brief. A child who deserved no guilt, no fault, and no karma. Yet even he wasn’t going to be spared from the same terrifying existence as the others. He would experience the same losses and grotesque rules. Perhaps he would become the character that most people would “root for.” And they did.
Many people don’t notice that it takes quite a lot of time in LIT, before our three protagonists are there in the same space at the same time. Whilst writing, I had a concern. When these individuals came together, in the same space, would they all still be able to hold their own. To remain as equals. Each a fully formed 3-dimensional protagonists? Yes. By carefully keeping their characters in limbo, swaying between the macabre and the mundane, it creates a deep understanding of the individual that invests the reader in all three equally. When they come together, the reader’s familiarity with each of the individuals allows for an intriguing ensemble to develop that embraces the reader like a special treat.
With the three protagonists in play, each continued to have their own distinct storyline. That took a deal of planning, but more so, a need for intuition and an understanding of the people that had been created. As any writer would agree, after a time the characters are able to take on a life of their own. Their mannerisms, their reactions and even their dialogue begin to write themselves. Each of the above is paramount in giving the reader the feeling that they are gaining the gift of insight into someone else’s life, someone else’s thoughts, and feelings. And within the universe of LIT, someone else’s trauma, terror, and bravery. Why would they make the decisions they make? Take the path they chose in any given situation? Because that’s what real people do.
These three characters with their own unique afflictions demonstrated what I had learnt over the course of my life. No one is 100% good or bad. No one is either hero or villain. Every person has the ability to be brave, to be scared, to fight or run. Everyone is influenced by their own experiences, successes, and traumas. That is what I wanted to achieve in the LIT series.
Horror writers tell tales to scare, titillate and sometimes, simply to shock. I wanted to create a story that not only terrified the reader but also, moved them. The best way to achieve this was to give the true victims of evil a basis in our own reality. A small part of them will then resonate within each of us. Do you agree with their decision? No, but you understand why they made them. Do you like them? Sometimes, you won’t, but isn’t that just like real life?
Horror and suspense greatly benefit from the gift of thoughtful, natural character arcs. One grizzly scene set-up only to follow another fulfills just a small component of a memorable horror story. There is so much more that can be done to grasp the reader. Not only does strong character development prevent reader boredom, it enhances the intrigue of the ‘What next?’ It drives curiosity for the avid fan of dark writing and gives them protagonists that embody universal character traits. Traits that one can both relate to and be repelled from. It makes us question what would we do if faced with the same dilemma? Are we coward? Hero? Or a bit of both depending on the circumstance and drive. This is the task of the storyteller. Their reader is a guest, to be guided through our world. Our characters take them on a journey both from within and outside their mind.
Mark Anthony is the award-winning author of the supernatural horror series, “LIT” He lives in Perth, Western Australia with his husband and 9 year old son. Anthony began writing whilst working as a Cancer Nurse when the COVID-19 lockdowns commenced in 2020 and has since produced a sequel “ASCENT”. “RAGE” the third book in the series has an expected release for April 2024.
Productivity
By Dale T Phillips
“Writing a novel is like driving at night with your headlights on- you can only see a little of the road ahead, but you can make the whole journey that way.”
—E.L. Doctorow
You write a novel the way you’d eat an elephant—one small bite at a time.
Writing even one novel is a lot of damned hard work. Continuing to write them is little short of obsessive. But to be successful, you’ll have to keep doing it over and over. Unlike singers, however, you get to do different ones each time, not the same thing over and over.
Every writer has a different way of doing the work. Two major types of writers are (with many of us doing one or the other, or both):
• Plotters, who carefully detail everything before writing, doing the outline, and setting the scene first.
• Pantsers, who write “by the seat of their pants,” just jumping in without a complete structure in advance. Dean Wesley Smith uses this method, which he calls “Writing into the Dark.” He has an advantage, though, in having done it several hundred times!
It’s good to keep files of ideas, titles, character sketches, and turn of phrases. When you need a new idea, scan these files for things that spark your imagination. I’ve got hundreds of potential titles in one file and ideas for new stories in another. I’ll never run out of things to write.
The best way to be productive is to write every day if you can. It builds the habit. Don’t wait for inspiration. If you can do that, it’s a wonderful way to be productive. On the other hand, I do it the “wrong” way (even though fellow writers compliment me on my productivity, which I find amusing). I have to be inspired by the ancient Greek concept of “The Muse,” which many say is not effective, because you won’t write as much. Lucky for me, I take The Muse seriously, and She often drops by to tell me what to write next. It sometimes messes me up because I shift projects at a moment’s notice.
For too long, I was working on three different novels and not completing any of them. One was 75 percent done, another was 50 percent done, and the third was 25 percent done. Which all adds up to zero percent finished. There were some publishing strategy changes and various issues in the narratives which bogged me down.
Then I finished one novel, but before I got to the other two, another novel sprang into being. I wrote most of that, and got stuck again when illness, depression, and Covid-19 hit in rapid succession. I was down and out for too long before I decided that writing would give me back my life. Indeed, it did, and I burst forth with a completed and published novel, a new story, and a finished draft of another novel.
Write whenever you want or can: early morning, late at night, on lunch breaks, whenever. Find the time that works best for you. Short stretches or long marathon sessions, it doesn’t matter. Keep a notebook handy for ideas that come to you when you’re doing other things like driving, showering, or taking a walk (when many ideas turn up).
If you have trouble, try the “Pomodoro Method” of sprints and movement. http://graemeshimmin.com/the-pomodoro-technique-for-writers/
NaNoWriMo is a fun method to put out a lot of work in just a few weeks. If you’re having trouble getting words down, think about giving it a try to kickstart your brain into fevered word production.
One good habit is to set aside your writing time as the primary task for the day. Writers procrastinate better than anyone else, and it’s so easy to get sidetracked that writing time can easily slip away. Write first, do all else later. Don’t do research in your writing time because it’s easy (and lots of fun) to fall down the rabbit hole. If you come to a passage that needs to be researched, just mark it as such and move on.
Doing the Math
If you’re just starting out, you may produce at a slower rate. That’s okay, it will just take you longer. If you’re going to be a successful indie writer, you’ll need a fair amount of good work. Do you know how long on average it takes you do finish, edit, and publish each book? If not, start with an estimation of writing one book a year, 50-100,000 words. When you get more experienced, you’ll definitely want to increase this output, but it’s a good place to begin. At that pace, it will take you roughly five years to write five good books, which will (simply by that output) put you in the top 20% of all published writers.
Have you got at least five good books in you, just as a start?
So, your first novel. Say 75,000 words, and you want it done in a year. That’s only 1500 words a week (a few hundred a day) and around 5 pages. Fifty weeks later, you’ve got 250-plus pages, and those 75,000 words. Congratulations! You’ve done more than many who set out to do this. It may not be the best yet, but you got it done.
Celebrate!
Then get to work on the second novel. You’ve practiced for a year, so maybe this one will go faster. Up your word count to 2500 words a week. Still quite doable. This means you’ll get this one done in just over six months. How about that? Almost half the time. You learned a lot more, and it’s probably better than book one.
Celebrate!
Write the third book, slightly better pace. Finish.
Celebrate!
Two years total, three books under your belt.
Starting to get the hang of it? Hopefully. Rinse and repeat.
If you need a million words to get really good, how many can you write in a year? A book a year is a decent pace, better than most, but for more success, you might want to step it up some. If you can put out 5,000 words a week, you can have 250,000 in a year, and a million words in only four years.
One book a year might net you a few hundred dollars in income (or a few thousand), but you want more, you want volume. The more you write and publish, the more you’ll make. If you want to make 48,000 dollars a year, you’ll need 4,000 dollars a month, or roughly two thousand total sales at two dollars profit each, or 500 sales a week. One book will sell x number of copies, ten books will sell much more. So you want to get to ten good books published, as quickly as possible. That takes discipline and dedication.
Figure out how much you make per hour, and scale up. If you make a penny per word, an hour of good writing at one thousand words nets you roughly ten dollars. That’s your scale. If you want to make $48,000 a year, you have to either write faster or get paid more. Daunting, yes.
After six to ten books, you should be selling more of everything. Each new book adds to the total. The “Halo effect” means that other books of yours are bought because people discovered a first book, then went on to others. Especially if you have a series or connected books.
In the old way of publishing, some authors could get by with one book a year. Today, you’ll likely have to be far more productive to make a decent income. It’s up to you to determine your level of success.
Dean Wesley Smith calls his copyright and production output The Magic Bakery.
Imagine that you have a storefront with all your items for sale within. If you have one book in one format, you have one product. Have you ever walked into a store and bought a single product? You likely won’t stay long. As a successful author, you want variety and choice, different price points, and for shoppers to come back again and again to buy more. A series can bring them back for more. Put your work out as an e-book, in print, as audio, and other formats, such as graphic novels. The other aspect of The Magic Bakery is that as an indie author, you can keep licensing pieces of each product, while keeping the original. Traditional publishers buy the whole product, which you cannot resell. Dean made thousands of dollars from one story, by licensing different pieces of it. Make your work into a virtual storefront, and fill it with tempting merchandise.
It’s amusing to me that when I set up my display at book events (24 books currently, plus anthologies with others), people look at the output, and think I’m prolific, when I feel like a slacker who doesn’t do enough. I smile and say, “If you want it badly enough, you’ll work for it.” I sell more than most writers at these events, because of my sheer variety, and the different price points (with prices shown for each book, so browsers don’t have to ask). A few secrets of my success. I point out that someone can grab a book of short stories for little more than a cup of coffee or get a good novel for half the price of a hardcover in a bookstore. And because people love a bargain, I’ll give them a price break if they want to buy more than one book. By having so much available, with ebooks and audio of everything, I’ll offer them other free versions of the work when they purchase print (which costs me nothing). People will remember and come back in subsequent years to buy more. And every year they come back, there’s more to sell.
Advantage, productivity.
Dale T. Phillips has published novels, story collections, non-fiction, and over 80 short stories. Stephen King was Dale's college writing teacher, and since then, Dale has found time to appear on stage, television, radio, in an independent feature film, and compete on Jeopardy (losing in a spectacular fashion). He's a member of the Mystery Writers of America and the Sisters in Crime.
The Scene Of The Crime
Location. Location. Location.
It’s true for real estate, restaurants, and even books.
As a reader, I’ve lost track of the number of times that I’ve purchased a book based on the setting. Whether it was a place I’ve always wanted to visit, an area I was already familiar with, or a spot that promised a form of intrigue that I just couldn’t pass up, no other part of a book has the ability to create a picture quite as quickly and thoroughly as where it is set.
That’s because a location has the uncanny ability to transport the reader to a new world. It’s cheaper than a vacation, less crowded than the airport, and safer than traveling by car, but like anything you’re looking forward to, readers have certain expectations. Your setting is a promise you make to them, a pact that that small town will be brimming with secrets… that beach filled with romance… or that jungle saturated with suspense.
When writing, ask yourself—how much thought have you put into your setting? Do you craft scenes oozing with atmosphere? Are your locales drenched with details? Or is your setting simply the place where your fascinating characters bring your stellar plot to life?
I have to admit that while I occasionally focus on developing an atmospheric setting in my short fiction, in my novels, the settings tend to be the trunk on which my plot branches and my characters grow their leaves.
The idea for my Chief Maggie Riley series, set in the fictional town of Coyote Cove, was inspired by the real-life, no stoplight town where my husband and I spent our honeymoon years ago.
That’s right. I spent my honeymoon plotting a murder. Fortunately for him, it wasn’t my husband’s.
But it wasn’t the thought of the impending ups and downs that marriage would bring once the honeymoon was over that had me thinking about death. There was something magical about that small town in Maine nestled in a mountain valley on the edge of a lake. A spot where moose outnumbered people three to one, the annual snowfall numbered in the triple digits, and everywhere you looked, you saw a postcard setting.
It just seemed so… perfect. And I wasn’t buying it for a second.
Call me cynical or jaded—or a mystery author—but the more we explored this seemingly flawless place, the more I became convinced that beneath the peace and the quiet and the enchanting beauty lurked something dark and sinister. I couldn’t help thinking to myself that this idyllic little burg would be the perfect breeding ground for crime.
But would the setting be able to carry a series? To answer this question, I considered the location in terms of being its own character.
It was wild. Unpredictable. Moody. Vulnerable. In short, yes, it would.
I decided that the remoteness, aided by the harsh environment, would be ideal for creating suspense as well as conditions that could be used to torture my heroine and further complicate her struggles.
Sitting beside that lake—one that surely hid at least a few bodies—all those years ago, goosebumps peppering my flesh as I listened to the chilling cry of a loon, answered by the hungry howl of a predator, I knew the scene was prepped for murder. Coyote Cove was born. Some small towns hide big secrets. And some secrets are deadly.
With degrees in Crime Scene Technology and Physical Anthropology, Florida author Shannon Hollinger hasn't just seen the dark side of humanity - she's been elbow-deep inside of it! She's the author of both adult and YA standalone psychological thrillers as well as the gritty Chief Maggie Riley series. Her short fiction has appeared in Suspense Magazine, Mystery Weekly, and The Saturday Evening Post, among a number of other magazines and anthologies. To find out more, check out www.shannonhollinger.com.
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